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TEN.  DOLLAR  OUTFIT  PICTURE 


HOW  TO  MAKE 


FOR  THE 


Pp0¥06^^PJIE^. 


BY 

HENRY  CLAY  PRICE. 


NEW  YORK  : 

SCOVILL  MANUFACTURING  CO. 

W.  Irving  Adams,  Agent. 

1882. 


COPTKIGHT, 

1882, 

By  SCOVILL  MANUFACTURING  CO. 


NEW  rORK  : J.  i.  LITTLE  & CO.,  PRINTERS,  10  TO  20  ASTOR  PLACE. 


“ There  is  a pleasure  in  the  pathless  woods, 

There  is  a rapture  on  the  lonely  shore, 

There  is  society  where  none  intrudes, 

By  the  deep  sea,  and  music  in  its  roar  : 

I love  not  man  the  less,  but  nature  more. 

From  these  our  interviews,  in  which  I steal 
From  all  I may  be,  or  have  been  before, 

To  mingle  with  the  universe,  and  feel 

What  I can  ne’er  express,  yet  cannot  all  conceal.” 


INTRODUCTORY  CHAPTER. 


“ Seems  ? — nay,  is.”  This  was  the  compliment  given 
to  stereoscopic  pictures  when  they  were  first  made, 
so  realistic  did  they  seem.  From  the  dim  outline, 
the  faint  image  discovered  by  Daguerre,  photography 
has  risen  to  be  an  art.  Instead  of  unreal  likenesses, 
portraits  can  now  be  made  which  speah  through  the 
perfectly  reproduced  expression  of  the  face,  and  the 
sentiment  indicated  by  the  pose.  Marvelously,  too, 
are  the  beauties  and  glories  of  nature  mirrored. 

The  latest  and  most  rapid  advance  in  the  art  is  due 
to  the  discovery  of  the  sensitiveness  of  a gelatine 
film.  This  knowledge  has  been  practically  applied 
in  the  introduction  of  plates  prepared  with  such  a 
coating.  These  are  called  “ dry  plates,”  to  distin- 
guish them  from  plates  which  must  pass  through  the 
silver  bath  and  be  used  while  wet. 

Gelatine  plates  are  now  in  general  use  for  taking 
pictures  of  out-door  scenes,  such  as  landscapes,  houses, 
groups  of  people,  and  all  animated  subjects. 

The  rapidity  with  which  an  exposure  can  be  made 
is  a very  great  recommendation  in  their  favor  wher- 


8 


INTRODUCTION. 


ever  these  plates  are  used.  Vessels  under  full  sail, 
horses  speeding  around  a race  course,  and  even  trains 
under  full  headway,  have  been  depicted  by  the  gela- 
tine film,  as  though  all  motion  were  instantly  sus- 
pended. 

To  the  amateur  the  dark  tent  with  its  hidden  mys- 
terious manipulations  was  forbidding.  It  is  no  longer 
necessary  for  him  to  be  encumbered  with  it.  The 
poisonous  chemicals  of  the  old  process,  wdiich  soiled 
the  dress  and  stained  the  fingers,  were  odious.  These 
and  the  dusty  burdensome  camera  can  be  put  with 
the  relics  of  the  deacon’s  one  hoss  shay.” 

An  equipment  consisting  of  a tripod,  lens  and 
camera,  dry  platens  and  holders,  are  all  that  need 
now  be  carried  by  the  view  taker,  weighing  so  little 
as  not  to  be  counted  burdensome  to  any  one.  Nat- 
urally amateur  photography  has  been  given  a won- 
derful impetus  by  these  improvements,  which  make 
it  a pleasant  accomplishment ; and  its  scope  and  mis- 
sion are  well  worthy  of  consideration. 

As  a recreation,  compare  practice  with  a camera 
and  the  search  for  good  picture  subjects,  to  archery, 
rowing,  lawn  tennis,  and  other  sports.  Is  it  not  as 
pleasant,  profitable,  and  cultivating  ? To  saunter 
through  green  fields  or  by  the  river  side  with  the  eye 
alert  for  picturesque  panoramas,  to  select  what  is 
worthy  to  be  produced  and  treasured,  ever  compar- 
ing, criticising,  and  admiring,  will  be  found  to  be  no 
mean  diversion,  and  will  educate  any  one  to  look 
with  keener  eye  and  greater  zest  for  the  beautiful  in 


INTKODUCTION. 


9 


nature.  The  exercise  I commend  is  exhilarating,  and 
there  will  not  be  the  danger  from  over-exertion  to  be 
found  in  some  sports.  Besides  the  giving  of  health, 
there  are  studies  made,  perhaps  uncon sciousl)?-,  adven- 
tures sure  to  be  met  with,  and  the  results  of  the  sport 
to  bring  home.  Our  country  presents  scenes  of  as 
great  beauty  as  any  other,  with  the  diversity  that  all 
can  offer.  Torrid,  temperate,  or  frigid,  plains,  hills, 
and  mountains — all  are  ours.  There  is  scope  enough 
for  the  amateur. 

As  an  aid  to  the  work  of  the  artist  the  camera 
has  already  been  promoted  by  some  who  have  won 
national  fame  as  landscape  painters.  Do  they  disdain 
the  methods  of  the  old  masters”  in  their  art  ? ^ot 
by  any  means.  This  is  a time  for  progression,  and 
art  will  not  sulk  and  frown  upon  an  innovation  that 
helps  out  in  its  tasks,  and  gives  a standard  to  judge 
the  correctness  of  outline,  perspective,  and  shading. 

The  camera,  in  adding  to  the  number  of  pictures 
an  artist  can  produce,  will  not  detract  from  the  merit 
of  the  productions.  The  artist’s  model  poses  for  him 
as  a pattern  of  loveliness  to  be  glorified  in  his  ideal. 
The  lines  of  beauty  are  not  a lesson  of  a day:  many 
times  must  the  study  be  repeated.  Bare  is  the  mem- 
ory that  can  disdain  all  helps,  and  therefore  I com- 
mend to  the  artist  a portfolio,  containing  not  alone 
crude  sketches  with  colors  faultily  limned,  but  also 
with  photographic  productions,  such  as  landscapes, 
groups  of  animated  objects,  marine  views,  as  the 
fancy  inclines. 

1* 


10 


INTRODUCTION. 


Combining  relaxation  with  the  gathering  of  tliese 
finished  suggestions,  work  for  a wliole  season  in  the 
studio  could  in  a short  time  be  obtained.  At  the  time 
of  writing  an  artist  is  journeying  and  gleaning  views 
along  the  Amazon.  He  took  with  his  easel  a portable 
photographic  outfit,  and  when  he  returns  it  will  be 
with  a satchel  packed  with  reminders  of  tropical  lux- 
uriance of  verdure  to  be  transferred  to  canvas.  If 
the  novice  and  the  baffled  student  of  art  find  it  hard 
to  delineate  nature,  or  to  make  their  fancies  real, 
let  them  be  wise  and  compare  their  pictures  with 
those  made  by  the  servitor  camera.  By  its  use 
copies  of  the  rare  paintings  of  the  old  world  can  be 
made  and  brought  home  to  be  companions  of  the 
studio. 

The  teaching  of  object  drawing  could  well  be  sup- 
plemented by  days  in  the  field  with  this  docile  in- 
strument, and  as  the  result  botanical  specimens  would 
receive  better  representation  on  paper,  and  more  ap- 
preciation. There  are  many  who  are  connoisseurs 
of  art : artists  they  would  be,  but  cannot,  not  even  the 
pencil  will  do  their  bidding.  Commend  to  them  the 
camera,  which  will  produce  what  they  desire. 

Poor  is  the  traveler  in  foreign  lands  who  does  not 
return  with  mementoes  for  himself  and  those  he  loves, 
in  part  to  prove  what  he  saw,  and  also  to  keep  the 
scenes  alive  in  memory.  What  more  fitting,  and 
what  can  tell  the  story  like  a collection  of  views  ? 

Ho  power  of  description  can  equal  them. 

Within  the  memory  of  the  young  how  much  has 


INTRODUCTION. 


11 


been  added  to  the  adornment  of  home  ! In  greater 
part  this  is  due  to  the  laudable  efforts  and  design  of 
the  ladies. 

This  improvement  is  noticeable  in  the  dwellings 
of  nearly  all,  whether  of  high  or  low  degree.  How 
that  a photographic  outfit  can  he  so  easily  carried 
about,  and  pictures  so  readily  made  by  the  gentler 
sex,  this  means  of  aiding  decorative  work  will  be  sure 
to  be  used  by  them.  Cheap  prints  and  crude  crayon 
work  must  he  put  away  in  garrets  and  he  superseded 
by  photographed  views,  scenes  of  the  old  hillside 
homestead,  pictures  made  in  distant  countries,  or  re- 
minders of  the  summer  liolidays.  Set  in  tasteful 
frames  adorning  the  walls,  or  bound  between  covers, 
the  claim  to  ownership  would  he  a double  one,  that 
of  creation  and  possession.  Oil  paintings  of  rare 
merit  would  not  be  supplanted.  There  is  room  for 
both. 

Does  a student  want  for  satisfying  pleasure  ? Let 
him  try  the  camera.  It  will  aid  him  in  the  practical 
researches  of  botany,  entomology,  mineralogy,  and 
what  not  ? — and  also  prepare  him  by  the  stimulation 
of  exercise  for  the  better  study  of  each.  By  repre- 
sentations of  the  specimens  captured,  he  can  com- 
pare results  with  his  instructors,  or  men  more  learned 
than  himself.  A scholar’s  time  will  not  be  thrown 
away,  if  he  in  tliis  manner  courts  only  health.  The 
explorer  overcomes  obstacles  of  travel  to  give  the 
result  of  his  discoveries  to  others ; but  how  can  he 
make  it  real  to  them  in  a story  or  lecture  ? It  is  a 


12 


INTEODUCTION. 


simple  task  if  he  has  returned  with  pictures  of  what 
he  has  seen.  These  may  be  bound  in  liis  books. 

How  much  better  Bayard  Taylor’s  works  would  be 
could  he  have  illustrated  them  ! Or  the  same  pic- 
tures can  be  transferred  to  magic  lantern  slides  and 
thrown  on  to  a white  screen,  holding  the  keen  atten- 
tion of  an  audience. 

A missionary  in  the  center  of  China  is  now  sup- 
plementing his  report  to  the  home  secretary  by 
scenes  reproduced  from  his  daily  experience  among 
the  pagans,  showing  their  wretched  condition  serv- 
ing heathen  deities,  and  the  awakened  desire  for  a 
refinement  of  living  as  the  result  of  the  gospel’s  mis- 
sion. Pages  of  description  will  not  tell  as  much  as  a 
few  of  such  pictures.  To  tlie  exile  for  Christianity’s 
sake,  the  use  of  an  amateur  viewing  outfit  will  be  a 
welcome  addition  to  the  privileges  he  enjoys. 

The  farmer  can  find  use  for  the  camera  to  display 
the  progress  of  cultivation  in  his  fields.  It  will  not 
bo  an  expensive  luxury,  and  why  should  his  life  be 
all  work  and  no  play  ? I think  he  will  find  greater 
satisfaction  if  he  can  look  up  from  his  toil  long 
enough  to  analyze  that  which  surrounds  him,  and 
rewards  his  efforts. 

Utility  is  in  the  spirit  of  the  times,  and  our  friend, 
the  camera,  would  join  with  it.  The  practical  part 
it  is  destined  to  play  is  now  beginning  to  be  fore- 
seen. 

To-day,  the  best  magazines  and  weeklies  have  this 
instrument  as  their  “ artist  on  the  spot.”  Faithful 


INTRODUCTION. 


13 


and  good  illustrations  will  be  the  result  for  the  fu- 
ture, beside  which  some  of  the  old  productions  of 
imagination  will  hide  in  shame.  Correspondents  for 
papers,  or  in  mercantile  business,  may,  at  times,  tind 
a pocket  camera  almost  invaluable  to  give  a finish 
to  descriptions.  Government  surveys  and  all  topo- 
graphical records  are  now  more  complete  because 
our  modest  friend  has  noiselessly  performed  its  part. 

The  wares  of  the  merchant  or  manufacturer  can 
henceforth  be  better  and  more  cheaply  illustrated  in 
catalogues  and  price  lists.  In  order  not  to  be  out- 
done, the  example  of  some  of  the  leading  represent- 
atives of  these  branches  of  industry  must  be  fol- 
lowed. This  is  not  chimerical ! The  camera  is  now 
assigned  to  regular  duty,  midst  the  din  of  toil — this 
silent  worker ! 

To  show  a house,  a bit  of  real  estate,  cattle,  horses, 
or  a pile  of  logs;  a piece  of  mechanism  or  macliinery  ; 
any  new  design  of  furniture,  hangings,  carpets,  or 
ten  thousand  other  objects,  by  a picture  representa- 
tion, when  other  methods  would  be  quite  expensive 
or  unavailable,  is  a happy  subterfuge. 

Architects  with  a neatly  arranged  collection  of 
exteriors  and  interiors  are  the  more  inspired.  Their 
patrons  would  be  aided  in  selection  by  a more  exten- 
sive number  than  they  usually  have,  especially  by 
pictures  showing  more  of  detail  in  the  separate  parts 
that  make  up  dwellings.  In  the  drawing  up  of  their 
speciiications,  or,  in  fact,  in  those  drawn  up  by  any 
craft  or  profession,  ample  illustrations  would  make 


14 


INTRODUCTION. 


tlie  language  used  more  explicit  with  less  ver- 
biao:e. 

It  is  a wise  rule  adopted  by  insurance  companies, 
to  ascertain  not  only  the  nature  of  the  goods  on 
which  the  risk  is  to  be  assumed,  but  also  that  of  the 
surroundings. 

One  man  hired  to  make  such  surveys  of  property, 
quick  to  see  and  apply  an  idea,  adopted  a pocket 
camera  to  verify  his  conclusions  concerning  the  de- 
sirability of  the  risks  offered.  The  appointed  agent 
sent  out  to  appraise  property  for  a savings  bank  and 
loan  association  followed  his  example.  With  the  trust 
deeds  and  abstracts  of  title  are  filed  away  his  represen- 
tations of  real,  not  speculative  and  visionary  securities. 

That  recreation  is  more  needed  in  this  country  is 
not  denied ; nay,  it  is  preached  for,  and  the  pen  is 
vigorously  used  to  agitate  the  subject.  The  nation 
will  outgrow  the  hurry  of  youth.  What  shall  be 
taken  up  as  a respite  from  toil  ? In  the  rationale  of 
pleasure  the  camera  is  destined  to  play  a sensible 
part,  as  well  as  an  aesthetic. 

These  many  suggestions  of  its  service -are  given  to 
lead  the  current  of  thought  to  its  varied  capacities, 
some  of  which  may  not  have  yet  been  dreamed  of. 
Pictures  were  the  symbols  earliest  used  to  express 
thought  unuttered,  and  they  ever  have  been  the  lan- 
guage universal  of  the  world.  How  to  make  them, 
what  purpose  they  can  serve,  and  what  pleasure  they 
will  afford,  should  be  the  theme  of  a pen  most 
eloquent. 


HOW  TO  MAKE  PICTURES. 


CHAPTER  I. 

DESCRIPTION  OF  APPARATUS. 

It  has  been  tlie  fortune  of  the  writer  to  instruct 
many  pupils  in  the  lessons  of  amateur  photography, 
and  all  of  the  success  that  has  been  attained  I believe 
to  be  due  to  the  use  of  simple  but  explicit  language. 
In  these  chapters  I shall  try  to  leave  nothing  to  be 
guessed  at,  nor  any  chance  for  doubt ; but  beyond 
the  line  of  actual  experience  and  knowledge  I shall 
not  venture,  hence  the  apparatus  or  other  parts  of  an 
outfit  here  described  or  mentioned  will  be  such  as  I 
am  familiar  with  through  use,  and  known  to  me  to 
be  reliable — perfectly  so ! 

In  selecting  such  articles — having  learned  by  ex- 
perience the  importance,  the  necessity^  of  a good 
equipment — I ask  every  amateur  to  purchase  what  is 
warranted  by  a house  of  known  standing  and  veracity, 
and  not  to  get  what  may  be  cheaper,  but  really 
worthless. 


16 


HOW  TO  MAKE  PICTUKES. 


In  taking  pictures  tlie  negative  is  first  secured. 
This  passes  tlirough  the  various 
stages  of  development,  and  then 
the  prints  are  made,  which  are 
mounted  upon  card-board  to  suit 
tlie  taste.  The  first  operation — 
that  of  producing  tlie  negative — 
is  all  that  need  be  done  at  once. 

The  other  operations  are  subject 
to  the  pleasure  and  convenience 
of  the  amateur.  The  accompany- 
ing illustration  shows  all  that  is 
needed  to  be  carried  about,  and 
the  comfort  and  ease  wfith  which 
it  is  done. 

In  the  case  are  compactly  stowed  a lens,  camera  and 
holders,  the  focusing  cloth,  tri- 
pod, top,  and  note  book.  There 
may  he  more  hidden  there  that 
does  not  pertain  to  the  art. 
In  the  other  hand  is  grasped 
a tripod  neatly  folded  up,  whicli 
may  be  used  in  this  shape  as  a 
helper  when  climbing  steep  as- 
cents, or  possibly  as  a means  of 
defense  from  obtrusive  dogs  in 
wayside  orchards.  By  way  of 
contrast  with  the  carelesss,  easy 
attitude  of  the  figure  just  shown, 
I present  one  of  the  old  veterans  who  toiled  along. 


DESCRIPTION  OF  APPARATUS. 


17 


lieavily  laden,  to  practice  Iiis  beloved  art.  If  seen 
now  with  his  old  time  luggage,  it  would  be  averred 
that  he  had  been  detained  by  a twenty  years’  sleep 
with  Hendrick  Hudson’s  crew. 

A good  Apparatus  Outfit,  —Less  than  a year  ago 
it  was  announced  that  a good  outfit,  every  article 
of  it  warranted,  consisting  of  a camera,  with  accom- 
panying double  dry  plate  holder,  for  making  pictures 
4x5  inches,  a single  achromatic  lens,  a carrying  case 
in  which  to  stow  away  and  transport  the  camera, 
plate  holders,  and  lens,  and  a tripod,  would  hence- 
forth be  sold  for  $10.00. 

The  price  astonished  every  one,  photographers 
especially,  although  the  outfits  of  this  kind  were  de- 
signed particularly  for  the  use  of  amateurs. 

“ Think,”  said  they,  ‘‘  of  procuring  a serviceable 
lens  alone  for  that  sum.” 

Worthless  toys  have  been  offered  for  a trifle,  which 
will  not  take  a picture  ; but  all  these  lenses  are  guar- 
anteed. Since  the  introduction  of  the  cheap  outfits, 
I have  seen  in  the  busy  city  of  Waterbuiy  pile  upon 
pile  of  lens  tubes  bearing  the  name  “ Waterbury  ” 
as  a brand,  every  one  of  them  nickel-plated,  and 
perfect  in  finish.  When  brought  into  use  and  tested 
by  experts  these  lenses  have  proved  to  be  possessed  of 
something  more  than  beauty.  Hot  one  of  the  Water- 
bury lenses  has  ever  been  sent  back  to  the  maker  as 
falling  short  of  what  it  is  guaranteed  to  do,  and  there- 
fore I give  this  part  of  the  outfit  particular  mention. 


18 


HOW  TO  MAKE  PICTURES. 


Naturally,  when  one  has  discovered  the  object  or 
chosen  the  scene  that  he  is  desirous  of  photograph- 
ing, the  carrying  case  is  set  down,  and  then  follows 
the  undoingand  setting  np  of  the  tripod 
on  which  the  camera  is  to  be  placed  and 
fastened.  Figure  1 represents  the  top 
and  one  of  the  three  legs  of  a common 
tripod.  First,  the  part  D of  each  is 
iindoiibled  as  far  as  the  brass  band  C 
will  allow,  and  the  button  on  the  leg 
is  turned,  which  makes  it  straight  and 
rigid.  The  two  upper  of  the  three 
sticks  forming  a leg  have  holes  on  the 
inner  side  which  slide  on  to  the  pins 
in  the  ears  E E^  belonging  to  the  tri- 
pod top ; and  by  pushing  the  loose  end 
of  the  brace  B into  the  slot  in  the  op- 
posite stick,  the  two  pieces  are  sprung 
and  held  apart. 

Fern  ember  to  have  the  brass  piece 
G on  the  leg  face  out.  In  like  man- 
ner put  up  the  other  two  legs,  and 
catch  them  on  to  the  top.  When  set  up  the  tripod 
will  appear  as  shown  in  figure  2. 

Figure  3 shows  a camera  and  lens.  When  not 
in  use  tl)e  tripod  screw  is  kept,  as  pictured  here, 
screw^ed  into  the  bed.  Take  it  off,  set  the  camera 
on  the  tripod  top,  pass  the  screw  up  through  the 
hole  in  the  tripod  top,  and  screw  it  into  the  brass 
plate  on  the  under  side  of  the  camera.  A few 


DESCRIPTION  OF  APPARATUS. 


19 


turns  of  the  screw  will  bind  the  camera  fast  to  the 
tripod.  Kelease  the  hook  holding  the  ground 
glass  frame,  and  if  the  lens  is  in  the  body  of  the 
camera,  take  it  out,  or  out  of  the  carrying  case,  if 
stowed  there,  and  screw 
it  into  the  flange  on  the 
front  of  the  camera  as 
shown  at  F. 

Cameras  like  the  one 
shown  in  our  last  illus- 
tration are  at  present 
made  in  tAVO  sizes,  viz. 

— for  taking  pictures 
4x5  and  5x8  inches 
in  dimensions. 

The  material  of 
which  they  are  con- 
structed is  white  wood, 
and  the  exteriors  are 
stained  either  black  or 
else  in  imitation  of 
mahogany. 

In  eyery  respect  these  cameras  are  neat,  good,  and 
serAuceable.  So  it  is  Avith  the  rest  of  the  outflt* 
The  jury  at  the  American  Institute  haye  examined 
them  in  connection  with  the  more  showy  apparatus, 

. and  the  award  of  excellence  coA'ers  both  grades. 
Extract  from  the  judge’s  report  at  the  Institute, 
concerning  the  apparatus  just  described:  Fothing 

superior  to  it  can  he  found  anywhere.  For  the  at- 


20 


HOW  TO  MAKE  PICTURES. 


tention  given  to  outfits  for  amateurs,  their  benefit  to 
tlie  young,  especially  in  the  direction  of  encouraging 
art  studies,  and  a better  appreciation  of  nature’s 
beauties.  For  this,  as  well  as  the  whole  exhibit,  we 
recommend  that  a medal  of  superiority  be  awarded,” 
etc.,  etc. 


Many  an  amateur  makes  a beginning  with  one 
of  the  cheap  outfits,  and,  having  achieved  success, 
chooses  something  finer  and  higher  priced. 

Some  there  are  who  have  but  little  time  for  recrea- 
tion, and  they  will  not  care  to  expend  more  than  a 
small  sum  ; but  amateur  photography  is  a luring  art, 
and  the  desire  is  easily  awakened  for  the  gems  of 


DESCRIPTION  OF  APPARATUS. 


21 


the  camera  makers’  skill.  A feeling  of  pride  con- 
cerning the  equipment  used,  and  emulation  similar 
to  that  which  has  led  to  the  construction  of  superbly 
finished  yachts  is  sure  to  be  aroused  among  the 
patrons  of  culture,  leisure,  or  wealth.  Such  tastes  and 
fancies  may  be  gratified. 

Description  of  the  finest  Apparatus, — The  wise 
maxim,  always  get  the  best,  certainly  applies  to 
cameras.  At  the  outset  they  cost  more,  but  less  in 
the  end,  because  the  best  satisfies. 

Spanish  mahogany,  finished  in  French  polish,  is 
used  in  their  construction.  This  wood  is  chosen  as 
it  wears  well,  and  chiefly  because  it  will  resist  the 
effects  of  moisture  longer  than  any  other.  A camera 
that  has  not  the  property  of  resistance  to  dampness, 
cannot  be  depended  upon  while  passing  from  one 
climate  to  another.  The  camera  made  of  common 
wood  in  a moist  region  swells,  and  its  movements 
become  clogged  and  do  not  work  well ; while  in  a 
dry,  warm  country  the  wood  contracts,  and  seams 
open,  through  which  light  penetrates,  working  its 
baneful  effect  on  a gelatine  plate.  The  result  is 
what  is  commonly  called  “ fogging,”  a term  which 
will  be  duly  defined. 

I will  suppose  the  amateur  to  have  purchased  a 
superb  first  quality  outfit,  and  feel  sure  that  he  will 
not  be  disappointed  in  it.  The  camera  forming  part 
of  it  is  provided  with  a front  board  that  can  be 
moved  up  or  down,  for  the  purpose  of  regulating 


22 


HOW  TO  MAKE  PICTURES. 


the  amount  of  sky  and  foreground  taken  in  the  pic- 
ture. One  of  the  two  front  boards  buttoning  on  to 
the  5x8  size  camera  has  a lens  screwed  to  tlie  flange 
on  its  face,  which  combination  is  used  when  a pic- 
ture the  full  size  of  the  ground  glass  is  desired. 
This  front  may  be  shifted  b}^  a lateral  movement, 
and  it  comes  in  use  when  tlie  box  is  clamped  by  its 
side  to  the  tripod. 

The  second  front  board  lias  on  its  flnished  side 
two  flanges,  upon  which  are  screwed  a pair  of 
matched  lenses  to  be  brought  into  use  when  stereo- 
scopic pictures  are  to  be  taken ; a diaphragm  or  di- 
vider is  set  up  so  that  two  pictures  of  equal  size 
will  be  made  on  a 5 x 8 gelatine  plate. 

A feature  of  the 
best  cameras  is  that 
the  backs  are  made 
to  tilt  out  from  the 
to]),  as  show  by  flg- 
ure  4. 

This  is  known  in 
photographic  parlance 
as  a ‘‘swing  back.”  The  set  screw  is  turned  down 
upon  the  brass  guide  on  top  of  the  camera  to  regulate 
the  incline  of  the  back.  Still  another  feature  wor- 
thy of  notice  is,  that  the  ground  glass  frame  is 
hinged  at  the  bottom,  so  that,  instead  of  taking  it  ofl 
when  the  plate  holder  is  in  use,  the  catch  at  the  top 
is  drawn  aside  and  the  frame  is  swung  down  on  to 
the  bed  of  the  camera,  as  illustrated  by  figure  5. 


DESCEIPTION  OF  APPARATUS. 


23 


Hinges  are  also  put  on  the  bed,  allowing  it  to  be 
doubled  over  against  the  back  of  the  camera  when 
the  hitter  is  to  be  packed.  In  focusing  the  brass 
guides  on  the  bed,  keep  the  back  and  front  of  the 
camera  parallel  to  each  other;  when  the  back  is 
drawn  out  far  enough,  a turn  of  the  patent  cam  fast- 
ens it.  Such  cameras 
as  I have  just  de- 
scribed are  made  in 
three  sizes,  viz.  for 
plates,  4x5,  5x8, 
and  64-  x 84-  inches. 

Neat  and  durable 
canvas-covered  satch-  fig.  5. 

els  with  telescopic  covers  accompany  the  finest  out- 
fits. In  them  are  carried,  the  camera,  lens  or  lenses, 
dry  plate  holders,  focusing  cloth,  focusing  glass,  and 
tripod  top. 

Leather  handles  are  attached  to  these  carrying 
cases,  but  a shoulder  strap  can  be  fastened  to  them, 
and  they  may  be  carried  at  the  side  of  the  amateur 
after  the  fashion  set  by  English  tourists.  One  of 
these  canvas  cases,  containing  a 4 x 5 camera  and  one 
double  holder,  is  eight  inches  long,  the  same  height, 
and  five  and  one  half  inches  broad.  The  weight  of 
all  is  but  three  and  one  half  pounds.  A 5 x 8 camera, 
double  holder,  and  canvas  case,  together  weigh  five 
and  three  quarter  pounds,  and  the  case  measures  eight 
and  one  half  inches  long,  eight  and  three  quarter 
inches  high,  and  six  inches  broad. 


24 


HOW  TO  MAKE  PICTIJBES. 


Last  but  not  least  of  the  unsurpassed  outfits  I men- 
tion the  tripod,  which  is  of  the  English  pattern  ; 
figure  6 shows  it  set  up. 

It  is  firm  when  in  position,  and  compact  when 

folded  up,  and  none  has 
ever  been  made  to  excel 
it  in  these  properties. 

Its  three  legs  of  ma- 
ple are  comp  o s e d of 
three  pieces  each,  hinged 
together.  To  set  it  up, 
unfold  the  two  outside 
pieces  of  a leg,  bending 
them  back  toward  each 
other  until  the  two  dow- 
el pins  in  the  third 
piece  fit  into  the  two 
holes  in  the  outer  joints. 
Of  course  this  is  repeated  with  each  leg.  Then  press 
together  the  two  nearly  parallel  pieces  and  hold  the 
brass  top  (which  is  usually  packed  inside  of  the  carry- 
ingcase)  fiat  side  up,  so  that  two  of  its  pins  will  enter 
the  holes  or  sockets  on  the  outer  side  of  the  joints; 
release  the  pressure,  and  you  will  find  the  leg  fastened 
to  the  top.  Thus  also  arrange  the  two  remaining  legs, 
and  the  tripod  is  ready  for  its  burden,  jprovided  you 
have  the  flat  surface  of  the  brass  top  iippermost. 

Fasten  the  tripod  and  camera  together  by  the 
thumb-screw,  passing  it  through  the  hole  in  the  tripod 
top  up  into  the  plate  in  bottom  of  the  camera  bed. 


DESCRIPTION  OF  APPARATUS. 


-25 


Figure  7 shows  their  appearance ; while  beneath,  as  a 
contrast,  are  seen  the 
folded  tripod  and 
the  box  containing 
the  balance  of  the 
outfit. 

With  these  cam- 
eras, various  lenses 
‘ are  used  to  suit  the 
tastes  and  require- 
ments of  different 
amateurs.  The  one 
most  generally  select- 
ed is  the  Rapid  Group 
Lens,  as  it  fills  the 
following  require" 
ments. 

The  taking  of 
groups  out  of  doors, 
general  landscape 
work,  and 
instantaneous 


making 
expos- 
ures. The  following 


FIG.  7. 


cut  and  description 

will  convey  some  idea  of  the  lens,  and  the  means 
used  for  securing  instantaneous  exposures. 

The  drop  adopted  for  the  Rapid  Group  Lens  con- 
sists of  a thin  strip  of  brass,  about  three  times  the 
diameter  of  the  lens  in  length,  and  wide  enough  to 
prevent  light  passing  through  the  tube. 

2 


26- 


how  TO  MAKE  PICTURES. 


The  piece  of  brass  A has  a square  hole  cut  in  its 
center,  about  equal  to  the  -diameter  of  the  largest 
aperture  of  the  tube,  leaving  a plain  surface  both 
above  and  below  the  hole,  the  lower  portion  shutting 
otf  the  light  before  exposing,  and  the  upper  after  ex- 
posure. 

In  the  barrel  or  tube  O a slot  is  cut  (I’ust  behind  the 

stop  opening), 
both  on  top  and  * 
underneath  the 
tube;  through 
this  slot  the  above- 
described  drop 
will  readily  fall, 
being  prevented 
from  passing  en- 
tirely through  by 
a small  knob 
placed  at  the  up- 
per end. 

On  the  under 
side  of  the  tube 
a button  D i s 
placed,  by  which 
the  drop  is  held  in  position  (the  bottom  of  drop  rest- 
ing on  the  same)  the  lower  portion  of  the  drop  stop- 
ping off  the  light ; the  part  with  the  square  hole,  • 
and  the  upper  blank  portion,  projecting  above  the 
tube.  When  this  button  is  thrown  to  one  side,  the 
drop  is  released,  and  it  will  naturally  fall  by  gravi- 


FIJ,  8. 


DESCRIPTION  OF  APPARATUS. 


27 


tation,  and  an  exposure  occurs  equal  to  the  time  it 
would  take  the  length  of  the  hole  in  the  drop  to  pass 
the  opening  in  the  lens.  The  upper  portion  of  the 
drop  falling  shuts  olf  the  light.  If  the  exposure  is 
required  to  be  still  more  rapid,  a rubber  band 
placed  around  the  tube  and  stretched  up  and  over 
the  knob  E on  top  of  the  drop,  will  accelerate 
its  action. 

If  you  wish  to  copy  a painting,  engraving,  or  let- 
tering, this  lens  will  meet  the  requirements.  For 
landscape  and  stereo-work,  I recommend  the  use  of 
the  American  make  of  Wide-Angle  view  Lenses, 
shown  by  figure  9.  These  favorite  Lenses  are  per- 
fectly achromatic^  and  abso- 
lutely rectilinear ; they  em- 
brace an  angle  of  fully  one 
hundred  degrees,  and  are  the 
most  rapid  Wide-Angle  Lenses 
made. 

They  are  supplied  with  re- 
volving diaphragms,  the  open- 
ings of  which  are  adapted  to  the  focal  length  of  their 
respective  lenses.  Where  only  a limited  field  is 
required,  the  full  aperture  may  be  used,  while  with 
the  smaller  stops,  perfect  definition  is  obtained  to 
the  margin  of  the  plate.  In  selecting  lenses  of  this 
description,  the  shorter  focused  lenses  are  especially 
adapted  for  street  and  other  views  in  confined  situa- 
tions. 

For  general  purposes  a pair  of  five  inch  back  focus 


FIG.  9. 


28 


HOW  TO  MAKE  PICTURES. 


will  be  found  most  useful  for  the  amateur.  To  aid 
amateurs  in  the  selection  of  these  view  lenses,  I ap- 
pend the  following  table  showing  the  height  of  im- 
age produced  on  the  focusing  glass,  with  a few  sizes, 
by  an  object  twenty-five  feet  high,  at  a distance  of 
fifty  feet. 


Focal  Length  of  Lens.  Height  of  Image  produced  on  ground  glass. 


inches. 

u 

inches. 

3 

u 

U 

u 

4 

u 

n 

u 

5 

a 

3 

u 

6 

a 

(i 

CHAPTER  II. 

FILLING  THE  PLATE  HOLDERS. 

Before  starting  out  to  take  pictures,  the  plate 
holders  must  be  filled  with  gelatine  plates.  Some  of 
them  hold  two,  and  hence,  if  but  two  views  are  to 
be  taken  before  the  return,  it  will  be  best  to  fill  but 
a single  holder.  If  the  amateur  thinks  to  secure 
more  than  two  picture  impressions,  he  must  govern 
himself  accordingly  in  putting  sensitive  plates  into 
the  holders.  As  it  is  essential  that  this  operation  of 
filling,  the  holders  should  be  done  in  a room  or  closet 
where  all  other  than  ruby  light  is  excluded  ; bear  this 
fact  in  mind  before  leaving  your  base  of  supplies.  It 
frequently  occurs  that  an  amateur  is  gone  from  home 
for  a considerable  length  of  time,  and  has,  while  away, 
no  chance  of  darkening  a room  sufficiently  in  which 
to  develop  the  exposed  plates,  or  to  refill  his  holders. 
In  this  case  he  must  provide  himself  before  starting 
with  a number  of  holders  filled  with  gelatine  plates. 

The  exclusion  of  white  light  from  the  room  in 
which  the  plates  are  either  placed  in  the  holder,  or 
afterward  developed,  should  be  both  emjphasized  and 
italicised.  After  you  have  closed  the  door,  and  be- 
lieve the  room  to  be  dark,  do  not  rest  satisfied  ; stuff 


30 


HOW  TO  MAKE  PICTURES. 


the  chinks  and  crannies.  Overhead,  nnderneatli, 
everywhere,  stop  out  wliite  light.  Look  through  the 
keyhole ! there  may  not  be  a reporter  outside,  but 
there  is  as  great  an  inquisitor,  who  must  be  barred  out, 
and  it  can  be  done  effectually.  Having  .faithfully 
attended  to  the  imperative  duty  of  securing  black 
darkness,  welcome  the  light  which  will  not  injure 
the  sensitive  film  on  the  plates.  This* can  be  ad- 
mitted from  without  by  light  shining  through  a pane 
of  ruby  glass,  or  ruby  paper  over  white  glass ; but 
the  more  common  and  preferable  light  is  that  which 
is  diffused  from  one  of  the  ruby  lanterns  designed  es- 
pecially for  this  purpose  (see  fig- 
ure 10),  and  I will  suppose  you 
are  provided  with  one.* 

Put  a light  in  it,  and  close  it  up. 
Only  ruby  rays  are  shot  forth. 
Now  take  a package  of  gelatine 
plates  and  carefull}^  cut  away  the 
original  wrapper  in  which  they 
are  put  up  by  the  maker.  Do  this 
in  such  a way  as  to  leave  the 
brand  or  label  on  the  cover  of 
the  box.  Take  the  telescopic  lid  off  the  box,  lift 
out  the  package  inside,  undo  the  other  paper  wrap- 
per, and  you  have  now  come  to  the  glass  plates  with 


* Another  dry  plate  lantern  has  just  been  introduced,  more  ex- 
pensive than  the  one  here  illustrated,  but  with  far  greater  illu- 
minating power.  Without  question,  it  is  the  best  one  made,  for 
home  or  stationary  purposes,  but  it  is  less  portable  than  the  other. 


no.  10. 


FILLING  THE  PLATE  HOLDERS. 


31 


one  side  sensitized,  which  were  packed  with  tissue 
paper  between  tliein. 

Take  out  a plate,  handling  it  as  shown  in  figure 

11,  which  is  tlie  proper  way, 
and  dust  oft'  its  glossy  sensi- 
tive surface  very  gently  with  a 
caniel’s-hair  brush.  This  is  done 
to  guard  against  the  possibility 
of  any  speck  or  particle  of  dust 
being  on  its  surface,  the  pres- 
ence of  which  would  eventually 
make  a spot  or  defect  in  the 
finished  picture.  It  would  not  be  amiss  to  dust  oft' 
both  sides  of  the  plate. 

If  you  cannot  detect  the  surface  having  the  coating 
of  gelatine  otherwise,  hold  the  plate  between  yon 
and  the  ruby  lantern,  and  you  will  then  perceive 
which  side  has  been  coated.  Be  careful,  and  forget 
not  to  keep  every  thing  but  the  camel’s-hair  brush 
away  from  the  surface  of  the  gelatine  plate. 

Take  np,  with  the  left  hand,  one  of  the  double 
plate  holders,  A, 
pictured  by  figure 

12,  and  pull  out 
the  slide  (7,  laying 
it  to  one  side.  In 
one  of  the  outer 
grooves  o f the 
holder,  place  a 
gelatine  plate  with  its  sensitive  side  facing  out. 


32 


HOW  TO  MAKE  PICTURES. 


Figure  13  represents  the  end  of  a liolder,  and  the 
shaded  portion  depicts  the  sensitive  plate, 
while  the  dark  lines  denote  the  position  of 
tlie  sensitive  surface  during  the  time  it  is 
going  to  the  scene  of  action,  when  it  is  ex- 
posed to  white  light  to  receive  the  image, 
and  while  it  returns  trophy-laden  to  the 
place  where  the  victory  is  to  be  commemo- 
rated. That  is  anticipating,  just  as  the  ama- 
FiG.  13.  teur  will  be  wont  to  do.  Take  up  another 
gelatine  plate,  or  rather,  handle  it  now  like  an  ex- 
pert, and  place  it  in  the  remaining  unfilled  outside 
groove  of  the  holder.  Be  sure  to  ]iave,the  sensitive 
side  face  outward.  Insert  the  slide  C in  the  central 
groove  of  the  holder,  as  indicated  in  figure  12,  and 
push  it  clear  in  to  the  stopper.  If  the  springs  on 
this  piece  catch  on  the  edges  of  the  plates,  bring  a 
slight  pressure  to  bear  on  them  with  the  thumb  and 
forefinger  of  the  left  hand,  which  will  remove  the 
trouble  and  permit  the  slide  to  be  forced  in  to  its  hilt, 
or  so  called  “ stopper.” 

See  if  the  slides  B B (thus  denoted  in  figure  12) 
are  pushed  in  also.  The  purpose  of  the  slide  C is 
to  keep  light  from  passing  through  from  one  plate  to 
the  other  during  the  time  the  first  plate  is  going 
through  the  operation  commonly  called  taking  the 
picture.”  Fogging  is  thus  again  avoided. 

Back  to  back  the  plates  are  placed  and  each  has 
its  own  time  appointed  for  seeing  the  light  and  treas- 
uring what  is  seen.  Another  mission  of  the  slide  C 


FILLING  THE  PLATE  HOLDERS. 


83 


is  to  keep  the  plates  in  focus  by  means  of  the  springs 
on  its  surface.  When  all  of  the  slides  are  pushed  in 
as  far  as  they  were  designed  to  go,  the  holder  should 
be  absolutely  light-tight.  It  should  not  only  be  so 
when  it  is  sold,  but  it  ought  to  remain  so,  and  there’s 
the  rub  ” with  a cheap  holder.  A good  holder  is  a 
prime  factor  of  an  outfit  of  sterling  worth.  Better 
have  none  at  all  than  a poor  one. 

But  to  recur,  the  slide  C should  only  be  taken  out 
in  order  to  remove  gelatine  plates  ready  for  develop- 
ment, or  to  place  fresh  ones  in  the  holder,  and  the  slides 
only  drawn  out  during  an  exposure.  There  is 
a screw  or  pin  you  will  observe  on  the  upper  side  of 
the  holder.  By  its  side  is  stamped  the  figure  (1)  one. 

Invert  the  holder  and  in  the  same  position  behold 
the  figure  2.  Bemember  about  these  figures  when 
you  have  the  plate  holder  in  use.  Give  number  two 
a chance  to  see  the  light.  Number  one  will  overdo 
and  be  spoiled  if  used  twice. 

After  filling  the  plate  holder,  or,  if  you  so  choose 
several  of  them,  rewrap  the  remaining  gelatine  plates 
of  the  undone  package,  put  them  in  the  card-board 
box,  replace  the  cover,  and  hide  away  the  plates  from 
their  arch  enemy,  white  light,  so  great  a blessing  else- 
where. It  is  time  to  come  out  of  seclusion,  so  throw 
open  the  door  and  put  out  the  lantern  light.  There 
are  worlds  you  are  sighing  to  conquer.  Away ! be 
back  to  them,  and  study  what  each  horizon  bounds. 
Learn  like  the  photographer  in  his  study  of  physiog- 
nomy, that  there  is  nothing  duplicated  under  the  sun. 

2* 


CHAPTER  HI. 


TAKING  THE  PICTURE. 

With  the  position  chosen  from  which  to  take  the 
picture — this,  by  the  way,  should  be  selected  so 
that  the  sunlight  will  shine  from  the  rear,  or  at  one 
side  of  the  camera,  never  in  front — you  set  up  the 
camera  and  tripod,  and  in  doing  this  be  sure  that  the 
top  of  the  camera  is  level. 

Govern  yourself  accordingly  when  spreading  out 
the  legs  of  the  tripod  to  lower  the  camera. 

If  you  cannot  wdth  your  eye  determine  about  the 
true  position  of  the  camera,  it  would  be  well  to  carry 
wdth  you  a spirit  level  of  vest  pocket  size.  There 
are  times  when  the  camera  may  be  pointed  at  a small 
angle  upward  or  downward  from  the  plane  of  the 
horizon  as  a variation  from  the  rule  just  given,  to 
offset  which  swing  the  ground  glass  to  a vertical 
position. 

Let  me  emphasize  the  command  not  to  have  the 
camera  incline  either  to  one  side  or  the  other.  If 
the  upright  sides  of  the  ground  glass  frame  lean  to 
one  side,  so  will  the  picture.  The  camera  may  be 
swung  round  by  loosening  the  screw  which  binds  it 
to  the  tripod.  When  swung  far  enough,  turn  the 


TAKING  THE  PICTURE. 


35 


thumb  screw  until  the  camera  is  again  fastened 
tightly  to  its  support.  From  out  of  the  carrying 
case  or  some  other  receptacle  pull  the  focusing  cloth, 
throw  it  over  the  top  of  the  camera,  and  gather  it 
tightly  at  its  sides.  Under  the  hood  thus  formed 
thrust  your  head.  Do  not  cover  the  lens  with  the 
cloth.  The  object  of  the  hood  is  to  shut  out  light 
excepting  that  which  enters  through  the  lens  and 
throws  a reversed  picture  on  the  ground  glass,  which 
acts  like  a semi-transparent  mirror.  Uncap  the  lens 
and  draw  the  back  of  the  camera  toward  you.  After  a 
moment  your  eyes  will  become  accustomed  to  the 
situation,  and  the  picture  will  seem  to  have  already 
been  secured.  It  is  not  a permanent  impression,  but 
like  that  of  the  mirror.  Continue  to  draw  the  back 
of  the  camera  toward  you,  and  the  image  will  appear 
more  distinctly  on  the  ground  glass.  If  you  pull  out 
the  back  too  far,  reverse  the  movement  just  as  you 
are  compelled  to  do  with  a pair  of  opera  glasses. 
When  you  see  the  image  most  clearly  you  have  ob- 
tained the  right  focus ; neither  the  word  nor  the 
operation  is  difficult ; a little  practice  will  master 
both.  While  standing  in  the  same  position  look  all 
around  the  edges  of  the  ground  glass,  and  make  sure 
that  the  picture  is  as  clearly  defined  there  as  it  should 
be.  Photographers  would  speak  of  securing  “ good 
definition.” 

Having  made  sure  of  this,  fasten  the  back  of  the 
camera  by  a turn  of  the  clamp  screw.  How  lay 
aside  the  focusing  cloth  where  it  will  be  safe. 


36 


HOW  TO  MAKE  PICTURES. 


Spring  back  the  catch  shown  in  figure  3,  and 
put  the  ground  glass  and  frame  out  of  the  way.  Be 
careful  not  to  break  the  former.  Place  the  cap  on 
the  lens.  Take  a double  dry  plate  holder,  and  turn 
it  so  that  the  heads  of  the  dark  slides  face  to  the  right 
(see  fig.  14,  showing  holder  in  proper  position). 

Set  the  holder  down,  and 
over  the  pins  projecting 
from  the  bed  of  the  ca- 
mera, and  push  it  gently 
forward  until  the  hook 
from  the  camera  catches 
on  to  the  top  screw.  Look 
now  to  your  lens  to  see 
that  the  cap  is  still  on  ; a 
knock  might  have  brushed 
it  off.  If  this  were  to 
pass  unnoticed,  and  the 
dark  slide  B be  drawn 
out,  one  side  of  the  sensitive  plate  would  necessarily 
catch  the  light  before  the  other,  with  a result  not  at 
all  favorable.  Or,  on  the  other  hand,  a longer  ex- 
posure than  is  desirable  might  be  given.  There  is  a 
proper  time  to  doff  the  cap.  It  is  after  you  have 
pulled  out  the  dark  slide  B nearest  the  camera 
(which  please  lay  on  top  of  the  camera),  and  also 
after  you  have  decided  how  long  the  sensitive  plate 
should  receive  light  through  the  lens  in  order  to  get 
the  best  results  on  the  film.  Suppose,  for  illustra- 
tion, your  subject  to  be  a landscape,  made  up  of  sky. 


B B 


TAKING  THE  PICTURE. 


37 


trees,  houses,  and  a pond — the  atmosphere  clear,  and 
the  sun  brightly  shining.  The  sky  will  be  photo- 
graphed on  the  him  very  quickly,  the  pond  not  quite 
as  rapidly,  the  impression  of  the  bright  colored  houses 
will  follow  next,  and  lastly  the  dark  green  foliage. 

You  have  in  use  an  achromatic  lens  of  six  inch 
back  focus,  and  a stop  of  a quarter  inch  o]:)ening. 
(Do  not  be  alarmed  at  these  words,  for  you  will  or 
may  ascertain  such  points  about  a lens  when  you  pur- 
chase one.)  The  gelatine  plates  in  use  we  will  sup- 
pose to  be  what  are  called  rapid,  hence  you  decide 
upon  hfteen  seconds’  exposure,  as  denoted  by  your 
watch.  Uncap  the  lens  by  a quick  movement, 
but  do  not  jar  the  camera,  and  as  soon  as  the  allotted 
time  has  passed  recap  the  lens,  replace  the  watch  in 
your  pocket,  and  push  in  the  dark  slide.  Y ery  soon 
an  amateur  can  learn  to  mark  off  seconds  without 
having  to  verify  the  count  by  a time-keeper. 

A little  practice  of  counting  off  the  flight  of  sec- 
onds, when  one  has  nothing  else  to  do,  wdll  learn  the* 
lesson.  Take  out  your  pencil  and  note  book,  and 
make  the  following  or  the  befitting  record  of  observa- 
tions : 


No.  of 
Holder. 

No.  of 
Plate. 

Lens. 

stop. 

Exposure 

in 

Seconds. 

1 

Time  of 
Day. 

Remarks 

Condition  of  Light, 
Subject,  etc. 

1 

1 

6 inch 
Ach. 

i 

15 

10  A.M. 

Bright  Sunlight. 

Such  notations  are  made  by  men  who  have  had 


38 


HOW  TO  MAKE  PICTUBES. 


years  of  experience  in  photography.  They  make  fre- 
quent reference  to  the  notes,  and  from  them  deduce 
calculations  of  the  length  of  exposure  to  be  given 
under  similar  circumstances.  Then  again  the  notes 
enable  them  to  compare  observations  with  others.  So, 
amateur  friend,  do  not  forget  your  note  book,  at  least 
you  will  be  driven  to  it  to  find  out  the  numbers  of 
the  plates  that  have  been  exposed,  and  to  thus  avoid 
using  them  again. 

The  plate  holder  can  now  be  put  in  the  carrying 
case,  and  indeed  the  whole  outfit  be  folded  into  its 
most  compact  form,  or  the  tripod  and  camera  may 
be  carried  shoulder  arms  ” if  the  amateur  expects  to 
pitch  the  tripod,  and  give  battle  to  another  surren- 
dering scene  not  far  distant. 

Ah  ! by  way  of  diversity,  here  is  a fine  marine 
view  with  the  blue  sky,  the  broad  expanse  of  the  sea, 
boats  at  anchor,  and  a small  dock  to  give  the  picture 
a finish.  This  is  a treat ! When  you  have  secured 
the  right  focus,  and  start  to  substitute  the  plate 
holder  in  place  of  the  ground  glass,  recall  the  fact 
that  plate  number  one  has  on  it  a picture  impression, 
and  must  not  be  used  again,  so  the  holder  should  be  • 
inverted,  and  figure  2 be  on  the  uppermost  side.  Also 
remember  about  the  dark  slides  facing  to  the  right. 
Before  uncapping  the  lens  again,  calculate  how  long 
the  cap  should  be  ofi. 

The  sky  casting  down  direct,  and  the  water  giving 
back  reflected  light,  action  on  the  sensitive  film  will 
be  more  rapid  than  in  the  former  view,  and  you 


TAKING  THE  PICTUKE. 


39 


therefore  decide  upon  ten  seconds’  exposure.  Draw 
out  the  dark  slide  nearest  the  camera.  Have  you  got 
hold  of  the  right  one?  ’ Tis  well!  lay  it  on  the 
camera.  Uncap  the  lens,  count  (lo)  sec- 

onds, and  recap.  Replace  the  dark  slide,  and  return 
the  holder,  with  its  two  hidden  trophies,  to  the  carry- 
ing case.  Have  your  note  book  tell  the  story  of  the 
capture,  and  where  it  took  place.  By  this  time  per- 
chance you  are  hungry  enough  to  “ eat  a bear ; ” 
you  did  not  think  that  a luncheon  would  be  needed, 
so  little  appetite  did  you  have  before  starting,  but 
now  you  are  certain  that  you  will  go  home  and  see 
that  dinner  is  served  promptly  this  day  at  least. 


CHAPTER  IV. 


DEVELOPMENT  OF  THE  PLATE. 

It  is  not  essential  that  the  operation  next  in  order 
with  the  gelatine  plate  shall  follow  at  once,  or  the 
same  day,  or  week.  The  amateur  can  suit  his  con- 
venience in  the  matter.  Dry  plates  have  been  ex- 
posed in  the  arctic  regions,  and  developed  in  Eng- 
land. They  have  been  used  in  Africa,  and  brought 
home  over  six  thousand  miles  after  months  of  travel 
to  be  developed.  For  the  above  manipulation  the 
following  list  of  accessories  are  requisite  : Two  vul- 
canite trays,  one  fourth  ounce  glass  graduate,  a set 
of  five  inch  Japanese  scales  and  weights  ; and  of  chem- 
icals, say  one  ounce  bromide  potassium,  one  ounce 
sulphuric  acid  c.  p.,  one  pound  neutral  oxalate  pot- 
ash, one  pound  protosulphate  of  iron,  one  pound 
hyposulphite  cf  soda,  and  one  pound  alum. 

These  accessories  will  probably  fie  kept  where  the 
dry  plates  also  are  stored.  Into  this  closet  or  room 
are  taken  the  dry  plate  holders  containing  the  ex- 
posed plates,  the  door  of  the  room  is  shut,  and  again 
all  white  light  is  barred,  thrust,  and  stuffed  out. 
The  seance  can  now  go  on  by  ruby  light. 

Take  out  the  central  septum  (slide  6’',  figure  12) 


DEYELOPMENT  OF  THE  PLATE. 


41 


from  a holder,  which  latter  please  grasp  with  the  left 
hand  as  shown  in  figure  15,  and  holding  the  right 
hand  to  within  an  inch  of  the  opened  end,  tilt  for- 
ward or  raise  the  other  end  of  the  holder  so  that 
the  gelatine  plates  will  slide 
down  and  strike  against  the 
fingers  of  the  right  hand. 

Figure  15  illustrates  this 
also.  The  uppermost  plate 
is  taken  out  of  the  holder, 
being  grasped  by  the  thumb 
and  forefinger  of  the  right 
hand  as  shown  in  figure 
11,  and  at  the  same  time 
the  holder  is  so  inclined  that  the  other  plate  will 
slide  back  into  its  former  place.  The  holder  can 
now  be  set  aside.  Lower  the  gelatine  plate  into  a 
vulcanite  tray,  and  Tcee^  the  sensitive 
side  upjpermost.  Look  to  this  ! Put 
the  slide  (7  back  into  the  holder.  From 
a pitcher  or  glass  pour  clean  water 
into  the  tray  until  it  is  half  filled. 
Leave  the  plate  in  this  cold  water 
bath,  and  mix  your  developer  solution 
^ as  follows : 

With  a graduated  glass,  in  appear- 
ance like  figure  16,  measure  out  two  ounces  of  oxa- 
late of  potash  solution,  which  is  made  by  the  follow- 
ing formula: 

Water  twenty  ounces^  into  which  dissolve  ji/ee 


4‘2 


. HOW  TO  MAKE  PICTURES. 


ounces  neutral  oxalate  potash^  and  ticenty  grains  of 
bromide  of  potassium. 

If  tlie  solution  does  not  turn  blue  litmus  paper 
red,  then  add  a few  drops  of  a saturated  solution 
of  oxalic  acid  until  it  does.  This  solution  will  keep 
indefinitely.  Pour  the  solution  from  the  graduated 
glass  into  a tumbler  kept  for  this  use.  Pinse  out 
the  graduate,  and  pour  into  it  one  quarter  ounce 

protosulphate  of  i r o ri 
solution  prepared  as 
follows  : Water  twenty 
ounces,  with  five  ounces 
of  protosulphate  of  iron 
dissolved  therein.  To 
this  add  twenty  drops 
of  sulphuric  acid  c.  p. 
This  solution  will  also 
keep  well.  Pour  the 
quarter  ounce  of  iron 
solution  into  the  two 
ounces  of  oxalate  o f 
potash.  A few  rota- 
tions of  the  tumbler  will  mix  the  two.  Set  the 
tumbler  down,  and  pour  off  the  water  in  the  tray, 
using  care  that  the  gelatine  plate  does  not  slide  out, 
and  also  that  its  surface  is  not  handled.  When  the 
water  has  been  drained  off,  pour  the  developing  solu- 
tion from  the  tumbler  into  the  tray.  Should  any 
air  bubbles  form  a slight  touch  of  the  finger  will  dis- 
place them.  Bring  the  ruby  lantern  close  to  the 


DEVELOPMENT  OF  THE  PLATE. 


48 


side  of  the  pan  (see  ligure  17),  so  that  you  may  better 
note  the  action  of  the  developer  upon  the  gelatine 
him.  If  the  latter  after  a short  time  shows  no  sign 
of  a change  taking  place,  consider  that  you  did  not 
give  the  plate  too  long  an  exposure,  and  such  being 
the  case  flow  the  developer  hack  into  the  tumbler, 
and  to  it  add  another  quarter  ounce  of  the  iron  solu- 
tion. Shake  the  tumbler  a few  times,  and  pour  the 
new  solution  into  the  tray.  Watch  the  plate,  but 
restrain  impatience.  Along  its  edge  a dark  streak 
appears,  which  indicates  that  the  sky  is  developing. 
Soon  the  outlines  of  a building  with  windows,  and 
general  details  appear,  and  lastly  the  foliage — such 
would  be  the  order  if  the  ])icture  possessed  these 
features.  Allow  the  gelatine  plate  to  remain  in  the 
developer  until  what  is  of  a milky  whiteness  begins 
to  turn  gray  in  color,  and  the  image  seems  to  fade 
away,  then  pour  the  developer  into  the  tumbler,riind 
flow  clean  water  on  to  the  plate.  Replace  it  with 
fresh,  raising  the  plate  so  that  the  water  may  wash 
the  under  as  well  as  the  upper  side  of  it : again  re- 
new with  fresh  water,  and  prepare  for  the  next  proc- 
ess, which  is  termed  fixing  the  plate. 


CHAPTER  Y. 


FIXING  THE  PLATE. 

Pour  into  the  unused  tray  enough  to  half  till  it  of 
the  hyposulphite  of  soda  solution,  the  formula  for 
preparing  which  is  as  follows  : 

Water  twenty-four  o\mces^  with  four  ounces  of 
hyjposulphite  of  soda  dissolved  therein. 

The  finger  of  caution  must  here  point  to  a warn- 
ing  : Never  use  this  latter  tray  for  any  other 

than  a hyposulphite  of  soda  solution. 

Remove  the  plate  from  the  tray  where  it  lies, 
handling  it  just  as  has  been  illustrated,  and  place  it 
in  the  fixing  solution  contained  in  the  second  tray. 
Again  be  sure  to  have  the  sensitive  or  film  side  up. 
Keep  the  plate  in  this  solution  until  all  the  milky 
whiteness  has  disappeared  from  the  back  of  the 
plate  : this  will  be  noted  by  raising  the  plate  with 
the  finger,  and  examining  the  lower  side.  If  any 
white  patches  remain,  replace  the  plate  in  the  solu- 
tion. Patches  must  thus  artistically  be  hidden  from 
view,  so  allow  a little  additional  time  before  taking 
out  the  plate,  to  be  sure  that  they  have  all  disap- 
peared. Then  take  the  plate  out  of  the  solution, 
and  wash  it  thoroughly.  White  light  will  not  now 


FIXING  THE  PLATE. 


45 


harm  it,  so  it  can  be  carried  to  a sink  outside  of  the 
darkened  room. 

Every  particle  of  hyposulphite  of  soda  should  be 
removed  from  the  film  and  plate.  The  washing  is 
done  by  permitting  a gentle  stream  of  water  to  flow 
over  each  side  of  the  plate.  Do  not  permit  the  fin- 
gers to  touch  the  film,  as  thus  the  negative  would  be 
marred. 

After  carefully  and  completely  cleansing  the  plate, 
rinse  out  the  developing  tray  and  pour  it  half  full  of 
the  alum  solution,  wdiich  is  mixed  according  to  the 
formula  presented  here  : 

Water ^ 20  ounces^  and  all  the  alum  U will  talce^ 
and  hold  in  solution^  or  in  other  words  a “ saturated 
solution^ 

Place  the  plate,  film  side  up,  into  the  new  bath, 
and  permit  it  to  remain  there  five  minutes,  while 
3^011  cleanse  \mur  hands  from  an}^  adhering  soda  solu- 
tion. 

Remove  the  plate  from  the  tra}^,  wash  it  for  a few 
seconds,  and  set  it  up  to  dry,  which  may  require  a 
number  of  hours.  Do  not  use  heat  to  dry  the  plate, 
as  you  would  thus  melt  the  film,  and  so  cause  the 
gelatine  to  run  about  or  off  the  plate.  Then  your 
picture  would  resemble  ‘‘castles  in  Spain,”  nothing 
more  defined,  everything  depending  on  the  power 
of  imagination.  I present  in  the  following  illustra- 
tion, figure  18  (page  46),  a very  convenient  receptacle 
for  holding  gelatine  plates  when  drying,  which  is 
called  a negative  rack. 


46 


HOW  TO  MAKE  PICTURES. 


Set  the  plate  in  this,  or  where  it  will  not  be  dis- 
turbed while  drying.  Plate  number  two  can  now  be 
put  through  the  course  of  development  and  fixing, 
and  into  the  negative  rack.  Before  doing  this,  how- 
ever, that  is,  handling  plate  number  two,  empty  the 

tray  containing  the 
alum  solution  back 
into  the  bottle,  and 
wash  the  tray  out, 
and  carry  it  into 
the  dark  r o o m ; 
also  throw  away 
the  contents  of  the 
developing  tum- 
bler, which  please 
rinse  out  also.  If 
the  ruby  lantern  light  has  been  extinguished,  relight 
it.  Once  more,  banish  all  white  light  from  the  closet. 
Briefiy  permit  me  to  enumerate  what  plate  number 
two  is  to  pass  through.  1st,  take  the  plate  out  of  the 
holder.  2d,  place  it  in  the  developing  pan,  and  pour 
water  on  it.  3d,  pour  off  the  water,  and  replace  it 
with  the  mixed  developing  solution.  4th,  wash  and 
fix  the  plate.  5th,  wash  and  place  the  plate  in  the 
solution  of  alum.  6th,  again  wash  the  plate,  and  set 
it  in  the  negative  rack  to  dry.  The  presumption  in 
this  summary  is  that  the  gelatine  plate  was  given  the 
proper  length  of  exposure. 

Over  re.— Suppose  a case  where  too  long  an 


FIXING  THE  PLATE. 


47 


exposure  lias  been  given.  To  correct  the  effects  of 
this  it  will  be  necessary  to  reduce  the  developer  with 
water;  say  one  ounce  of  water  to  two  ounces  of  the 
oxalate  solution,  add  to  this  dilution  an  eighth  of  an 
ounce  (that  is  one  dram)  of  the  iron  solution,  and 
two  or  three  drops  of  a sixty  grain  solution  of  bro- 
mide of  potassium,  which  is  made  by  dissolving  sixty 
grains  of  bromide  potassium  in  one  ounce  of  water. 

Label  the  bottle,  con- 
taining this  mixture,  cut  a 
hole  in  the  cork,  and  in  the 
opening  insert  a dropping 
tube  (see  figure  19).  The 
rubber  cap  A is  compressed 
while  in  the  bottle,  forcing 
the  air  out  of  the  tube. 

Upon  taking  off  the  pres- 
sure, the  solution  is  drawn  upw^ard  into  the  tube. 
On  removing  the  tube  and  pressing  the  cap,  as  shown 
at  (7,  one  or  more  drops  may  be  expelled  according 
to  requirement. 

A Stock  Developing  Dottle. — While  pursuing  the 
subject  of  development  it  will  not  be  amiss  to  call  the 
attention  of  the  amateur  to  a very  convenient  recep- 
tacle illustrated  by  figure  20  (page  48).  This  is  a bottle, 
B,  with  an  outlet  near  the  bottom,  which  opens  into 
the  end  of  a rubber  tube  having  the  other  extremity 
guarded  by  a clip.  Into  this  bottle  pour  twenty-four 
ounces  (one  and  a half  pints)  of  oxalate  of  potash 


48 


HOW  TO  MAKE  PICTUKES. 


solution.  Pour  on  enough  paraffine  oil  A to  cover  the 
oxalate  to  tlie  depth  of  half  an  inch.  Measure  out 
three  ounces  of  the  protosulpbate  of  iron  solution 

and  pour  it  into  the  bot- 
tle, where  it  will  pene- 
trate the  oil  and  com- 
bine with  the  oxalate 
solution,  forming  fer- 
rous oxalate  developer, 
in  appearance  red.  Af- 
ter the  plate  has  been 
immersed  in  the  water 
and  this  poured  off,  the 
tray  is  placed  in  such  a 
position  E that  enough 
of  the  developer  in  the 
bottle  is  drawn  to  cover 
the  plate.  This  is  done 
by  pressing  the  clip  D 
which  permits  the  de- 
veloper to  flow  into  the 
pan.  When  the  develop- 
ment has  gone  on  suf- 
ficiently, remove  the 
plate,  w^ash  it,  and  place  it  in  the  fixing  solution. 
While  the  plate  rests  there  a funnel  C with  a filter 
inside  is  placed  with  its  small  end  in  the  neck  of  the 
stock  bottle. 

Take  up  the  tray  with  the  developer  in  it,  and 
pour  the  solution  into  the  filter  lined  funnel,  whence 


FIXING  THE  PLATE. 


49 


it  will  percolate  down  into  the  stock  bottle  cleared  of 
impurities. 

After  this,  remove  the  funnel  and  cork  the  bottle. 
With  the  stock  bottle  you  may  have  a developing 
solution  ready  for  use  at  any  time,  and  the  developer 
can  be  used  over  and  over  again.  The  oil  is  pou)’ed 
on  the  surface  of  the  solution  to  keep  air  away  from 
it,  and  prevent  precipitation.  If  after  awhile  the  de- 
veloper does  not  seem  to  act  with  energy,  add  a 
quarter  of  an  ounce  of  the  iron  solution.  If  many 
plates  have  been  developed  with  this  solution,  I 
should  advise  that  to  each  ounce  of  the  solution  re- 
maining two  grains  of  bromide  of  potassium  be 
added.  Label  this  bottle  “ Old  Developer and  in 
the  same  kind  of  a bottle  mix  a fresh  developer  as 
before  compounded,  viz.,  oxalate  of  potash,  twenty- 
four  ounces,  with  the  oil  on  top,  then  three  ounces  of 
the  iron  solution.  This  is  the  one  to  be  used  next  in 
developing  your  plates. 

Yon  ask,  perhaps,  for  a method  to  tone  up  a nega- 
tive that  is  weak,  but  has  good  detail.  The  manipu- 
lation should  proceed  in  this  manner.  After  your 
regular  developer  has  brought  out  the  detail,  showing 
alack  in  strength,  pour  the  developer  back  into  its 
bottle,  then  flood  the  plate  with  some  of  the  old  de- 
veloper containing  the  extra  bromide  of  potassium. 
In  this  way  the  negative  will  acquire  strength. 

From  this  description,  chemical  manipulation  may 
seem  complicated,  but  the  processes  are  not  really  so. 
Rather  than  have  the  amateur  grope  along  trying  to 
3 


50 


HOW  TO  MAKE  PICTURES. 


discover  wliat  will  bring  success,  and  wliat  will  lead 
to  error,  1 have  endeavored  to  mark  out  each  step 
to  be  taken.  Still,  if  the  amateur  hesitates  and 
wavers,  not  trusting  his  own  ability  to  manipulate  a 
plate,  he  can  have  the  development  done  by  a profes- 
sional photographer,  and  also  the  printing,  toning, 
and  mounting  of  the  picture.  I do  not  recommend 
this.  To  go  it  alone  ” is  the  true  American  way. 
If  doubts  arise,  consult  with  some  one  of  experience, 
and  believe  in  your  ability  to  do  what  other  amateurs 
have  done. 


CHAPTER  yi. 


VARNISHING  THE  NEGATIVE. 

We  left  the  negative  in  tlie  rack  drying,  and  it 
must  be  thoroughly  done  before  tlie  next  process  is 
attempted.  My  plan  is  to  leave  the  negative  in  the 
rack  over  night  to  dry.  It  follows  next  in  order  that 
a coating  of  varnish  (prepared  and  sold  for  this  pur- 
pose) should  be  put  over  the  film  on  the  negative  to 


preserve  and  protect  it.  So  warm  the  plate  slightly  ; 
do  not  use  much  heat,  only  just  sufficient  to  give 
the  plate  an  indication  of  warmth. 

Grasp  the  plate  by  the  corner  with  the  left  hand 
in  the  manner  shown  in  figure  21.  Have  the  film 
side  up.  With  the  right  hand  remove  the  cork  from 
the  bottle  of  varnish,  and,  taking  it  up,  pour  enough 
on  the  plate  to  make  a pool,  which  can  be  spread 


52 


HOW  TO  MAKE  PICTURES. 


over  the  surface  of  the  plate,  but  not  so  much  that 
the  varnish  will  run  off  at  the  edge.  Figure  21  illus- 
trates the  act  of  pouring  out  the  varnish.  Incline 
the  plate  so  that  the  varnish  will  flow  to  the  upper 
right  hand  corner,  vary  the  inclination,  and  send  the 
varnish  to  the  upper  left  hand  corner,  then  around  to 
the  corner  held  by  the  hand,  and  finally  to  the  lower 


right  hand  corner.  It  will  of  course  be  surmised 
that  the  object  of  these  movements  is  to  coat  the  film 
on  the  plate  over  evenly  with  varnish.  When  the 
varnish  has  reached  the  lower  right  hand  corner,  the 
bottle  should  be  placed  as  indicated  by  figure  22,  so 
that  it  will  catch  the  surplus  varnish.  Gradually  the 
corner  distant  from  the  bottle  is  raised  so  that  all  the 
excess  of  varnish  will  run  off  the  plate,  to  accelerate 
which  give  the  plate  a slight  rocking  motion  to  and 
fro  from  right  to  left. 


VARNISHING  THE  NEGATIVE. 


53 


As  soon  as  the  varnish  ceases  to  run  off,  remove 
the  bottle,  cork  it,  and  draw  the  lower  corner  of  the 
plate  over  a bit  of  paper  to  wipe  off  any  drops 
clinging  to  the  edge.  Warm  the  plate  to  dry  the 
varnish,  using  only  sufficient  heat  to  cause  it  to  dry 
with  glossy  brilliancy. 

Set  aside  the  varnished  negative  for  a few  hours  to 
cool  and  harden,  and  then  it  will  be  ready  for  the 
printing  frame.  When  a number  of  negatives  have 
been  developed  and  varnished,  there  are  two  methods 
of  preserving  them  from  the  dust,  and  from  scratches. 
One  is  by  putting  them  in 
envelopes,  made  of  stout 
paper,  and  called  negative 
preservers,”  which  are  sold 
to  correspond  to  different 
sized  negatives.  Another 
way  is  by  placing  the  nega- 
tives in  boxes  like  the  one 
shown  in  figure  23.  These 
are  called  “ negative  boxes,” 
and  are  constructed  to  hold 
twenty-four  negatives,  wliich  latter  are  slipped  into 
the  grooves  at  the  two  sides,  and  thus  kept  from 
rubbing. 


CHAPTER  YII. 


PRINTING  FROM  THE  NEGATIVE. 

In  other  words  producing  a positive  picture  on 
paper  from  a negative.  For  this  purpose  are  needed 
two  porcelain  trays,  one  printing  frame,  some  ready 
sensitized  paper,  a bottle  of  chloride  of  gold,  a quarter 
pound  acetate  of  soda,  one  ounce  chloride  of  lime,  one 
pound  hyposulphite  of  soda.  This  is  a fair  proportion 
of  chemicals.  Before  commencing  to  print,  deter- 
mine how  many  pictures  you  want  from  each  nega- 
tive, and  cut  the  proper  amount  of  sensitized  paper 
into  pieces  the  size  of  the  negative.  There  are  in 
each  sheet  sixteen  pieces,  four  by  live  inches  in  size. 
Use  an  ivory  paper  cutter,  and  do  not  allow  your  fin- 
gers to  touch  the  sensitive,  or  glossy  side  of  the 
paper.  Put  the  pieces  of  sensitive  paper  in  a large 
envelope,  which  please  place  in  a shallow  paper  box 
and  conceal  in  a dry  and  dark  place  until  wanted 
for  use.  Sensitized  paper  should  be  handled  onlj^  in 
a weak  light. 

Figure  24:  is  that  of  a printing  frame  with  one 
half  of  the  back  board  unfastened  and  opened  up. 

Unfasten  the  other  half  and  take  the  whole  back 
board  out.  Dust  out  the  inside  of  the  frame  and 


PRINTING  FROM  THE  NEGATIVE. 


55 


also  dust  off  the  negative.  The  outside  of  tlie  frame 
may  not  be  harmed  by  the  same  operation.  Put  tlie 
negative  in  the  printing  frame  so  tliat  tlie  film  side 
is  up,  and  upon  it  place  a piece  of  sensitized  paper 
with  its  glossy  side  down.  Replace  the  back  board 
in  the  printing  frame.  Note  that  the  paper  under- 
neath is  smooth.  Fasten  the  springs  by  sliding  the 
ends  under  the  buttons  on  the  frame,  using  gentle 
pressure  to  avoid  breaking  the  glass  negative  under- 


PIG.  24. 


neath.  The  placing  of  the  sensitized  paper  in  the 
frame  must  be  done  in  a subdued  light.  Carry  the 
printing  frame,  when  all  closed  up,  to  the  window, 
lay  it  upon  the  sill,  and  let  the  light  fall  upon  the 
front  of  the  frame.  Occasionally  remove  the  frame 
from  the  window,  stepping  back  into  the  room  to 
examine  the  print.  Loosen  one  of  the  springs,  raise 
one  half  of  the  back  to  a perpendicular  position,  as 
shown  in  figure  24,  bend  back  the  sensitized  paper 
and  see  how  the  printing  is  getting  on.  When  the 


56 


HOW  TO  MAKE  PICTURES. 


print  looks  darker  than  you  wish  the  finished  pic- 
ture to  appear,  remove  it  from  the  frame  and 
place  it  awa)^  from  the  light ; a drawer  or  box  is  a 
good  receptacle.  Put  another  piece  of  sensitized 
paper  in  the  frame  and  continue  as  before,  until  you 
have  secured  the  desired  number  of  prints  from  this 
negative.  The  following  cautions  will  not  come 
amiss  at  this  point.  Never  drop  your  negatives  into 
the  printing  frame,  but  rather  lower  them  in  gently. 

Some  negatives  may  require  continuously  the  full 
benefit  of  the  sun’s  rays  on  the  printing  frame,  but 
the  greater  number  do  better  in  a more  subdued 
light.  Never  permit  anything  to  throw  a reflection 
on  your  frame  while  printing  with  it. 

When  examining  the  print,  always  do  so  in  a weak 
light.  Use  care  in  putting  in  the  paper,  and  do  not 
scratch  the  negative. 


CHAPTEE  YIII. 


TO^^ING  THE  PRINTS,  AND  FIXING  THEM. 

Although  toning  is  the  next  operation,  you  will 
naturally  prepare  the  toning  and  fixing  solutions 
before  proceeding  to  make  the  prints.  The  formula 
for  preparing  the  stock  toning  solution  is  as  fol- 
lows : 

Into  7^  ounces  of  water  dissolve  15  grains  chloride 
of  gold  and  sodium.^  then  add  to  it  300  grains  acetate 
of  soda ^ and  7 drops  of  a saturated  solution  of  cJdoride 
of  lime. 

You  now  have  a solution,  which  should  be 
made  twenty-four  hours  before  using:  being  a stock 
solution  it  will  keep,  and  is  alway  ready  when 
wanted.  Pour  clean  water  into  one  of  the  porcelain 
trays  and  into  this  bath  place  the  prints.  Toning 
should  be  done  in  a weak  light.  Do  not  get  too  near 
a window,  but  have  sufficient  light  to  see  distinctly 
without  requiring  guesswork.  After  the  prints  have 
soaked  awhile  in  the  water,  pour  it  off  and  renew 
with  fresh.  This  should  be  repeated  a number  of  times, 
and  at  the  last  change  permit  the  prints  to  soak  while 
you  prepare  the  toning  bath  according  to  the  follow- 
ing formula. 


58 


HOW  TO  MAKE  PICTURES. 


Take  of  the  stock  toning  solution  one  half  ounce^ 
pour  it  into  the  unused  porcelain  tray^  add  to  it  seven 
ounces  of  water  and  agitate  the  tray  in  order  to  mix 
them  well. 

The  water  is  now  drained  off  the  prints,  and 
they  are  placed  in  the  solution  just  mixed  face 
downward,  one  at  a time,  pressing  them  down  into 
it  with  the  fingers.  When  you  have  finished  this, 
commence  leisurely  to  turn  them  over,  and  this  re- 
versal or  turning  over  should  continue  while  they 
remain  in  this  solution,  in  order  to  secure  even 
tones.  The  prints  are  presumed  to  be  toned  suffi- 
ciently when  on  examination  by  transmitted  light, 
the  whites  are  found  to  be  clear,  and  by  reflected 
light  the  pictures  have  a purple  tint.  Keniove  the 
prints  from  the  toning  solution  (which  preserve  for 
future  use),  and  wash  them  well  in  clear  water,  using 
the  now  empty  dish  for  the  purpose. 

Fiocing  the  Prifits.—Y owv  this  water  off,  and  place 
the  prints  in  the  fixing  bath,  which  is  thus  made  up  : 

Hyposulphite  of  soda  four  ounces.^  common  salt  one 
ounce^  sal  soda  (washing  soda)  one  half  ounce,  and 
water,  thirty-two  ounces. 

Prepare  this  solution  the  day  before  it  is  to  be 
used,  or  warm  to  ninety  degrees.  Put  the  prints 
in  the  fixing  solution  to  remain  twenty  minutes. 
(This  should  be  used  but  for  one  lot  of  prints). 
After  fixing  the  prints  wash  them  thoroughly  and 
well,  and  then  hang  them  up  to  dry.  As  stated 


TONING  THE  PRINTS,  AND  FIXING  THEM.  59 

before  it  is  necessary  to  have  all  trace  of  the  hypo- 
sulphite of  soda  removed  from  the  prints.  This  is 
accomplished  by  long  washing  in  running  water.  In 
the  photographic  galleries  this  washing  is  continued  all 
night,  which  would  not  in  all  cases  be  convenient  for 
the  amateur.  Some  five  years  ago  Mr.  H.  J.  ^Newton, 
a well  known  amateur,  brought  before  the  photo- 
graphic community  a simple  and  effectual  means  of 
removing  the  hyposulphite  of  soda  from  the  prints 
with  far  less  washing,  to  wit:  First  prepare  a stock 
solution  by  dissolving  two  ounces  of  acetate  of  lead 
in  sixteen  ounces  of  water.  After  the  prints  are 
fixed,  wash  them  in  three  or  four  changes  of  clear 
water,  allowing  them  to  remain  in  each  change  a 
short  time.  While  in  the  last  change  measure  out 
four  quarts  of  water,  to  which  add  two  ounces  of  the 
above  lead  solution.  This  addition  wdll  give  the 
water  a milky  appearance;  add  acetic  acid  until  the 
solution  clears  up,  and  place  the  prints  in  this  solu- 
tion, leaving  them  there  from  five  to  ten  minutes. 
Then  remove  and  vrash  in  several  changes  of  clear 
water,  and  hang  them  up  to  dry.  This  ended,  they 
are  ready  for  mounting,  which  can  be  done  to  suit 
the  taste. 

Blue  Prints. — There  is  another  method  of  pro- 
ducing a positive  picture  on  paper,  which  is  very 
simple  ; it  is  called  the  process, and  is  adapted 

for  reproducing  mottoes,  drawings,  manuscript,  etc. 
The  manipulation  is  as  follow^s : Place  the  negative  in 


60 


HOW  TO  MAKE  PICTURES. 


the  printing  frame,  film  side  up,  upon  it  lay  a piece  of 
ferro-prussiate  paper,  colored  side  down.  After  fas- 
tening in  the  back,  carry  the  printing  frame  to  the 
window,  and  turn  the  front  side  out  to  receive  sun- 
light upon  it,  for  from  three  to  ten  minutes.  Occa- 
sionally take  in  the  frame  to  examine  the  printing, 
and  as  soon  as  the  image  is  distinctly  seen  on  the 
paper,  place  the  print  in  a pan  of  clean  water  for 
from  fifteen  to  thirty  minutes,  or  until  the  whites  of 
the  picture  are  clear,  when  you  will  have  a perma- 
nent blue  print  on  white  paper.  The  handling  of  this 
paper  should  be  done  in  a very  weak  light  until  after 
it  is  washed.  Lamp  or  gaslight  will  not  hurt  it. 


CHAPTEE  IX. 


TRIMMING  AND  MOUNTING  PRINTS. 

Prints  can  be  trimmed,  one  at  a time,  by  laying  a 
ruler  over  them,  and  cutting  along  the  straight  edge 
with  a very  sharp  knife,  but  the  more  scientific 
method  is  to  use  glass  forms,  as  the  picture  can  be 
seen  through  them, 
and  by  shifting  the 
form  the  best  por- 
tion of  the  print 
may  be  selected. 

Lay  the  print  on  a 
thick  light  of  glass, 
over  it  adjust  the 
glass  form,  and  with 
a sharp  pen-knife 
cut  all  around  the  edges.  Better  than  a knife  for 
this  purpose  is  one  of  the  straight  trimmers  illustrated 
by  figure  25,  as  it  makes  a clean  cut  edge,  not  a 
rough  or  uneven  one. 

Mounting  the  Prints, — When  through  trimming 
the  prints  my  plan  is  to  dampen  a light  of  glass,  at 
the  same  time  making  sure  that  it  is  clean.  Then  I 


62 


HOW  TO  MAKE  PICTURES. 


take  each  print  separately,  and  immerse  it  in  water 
until  it  lies  flat.  (By  this  time  you  realize  that 
prints,  as  well  as  negatives,  must  accept  the  doctrine 
of  total  immersion.)  Then  place  it  face  down  upon 
the  light  of  glass ; on  top  of  it  put  another  print  fac- 
ing down,  and  so  continue  until  all  of  them  have 
been  dampened  and  thus  piled  up.  Drain  off  the 
surplus  water  so  that  the  prints  will  not  be  too  wet. 
The  paste  used  for  mounting  must  be  sweet.  Sour 
paste  will  spoil  your  prints.  Do  not  forget  this  fact, 
and  }mu  will  not  after  a while  have  to  lament  about 
the  fading  and  staining  of  some  choice  view.  Parlor 
paste  is  the  best  for  an  amateur’s  use,  as  it  keeps  well, 
and  is  always  ready  for  service.  It  is  only  essential 
to  see  that  the  bottle  or  jar  containing  it  is  corked 
(when  not  in  use)  to  keep  out  dust.  With  this  paste 
keep  a bristle  brush — a two  inch  brush  is  best — as  a 
large  surface  can  be  spread  over  with  paste  in  a short 
time,  and  it  will  do  the  work  evenly.  After  wetting 
the  brush,  and  squeezing  out  the  water,  dip  it  in  the 
paste,  and  apply  this  to  the  upper  surface  or  back  of 
the  top  print  on  the  pile,  passing  the  brush  backward 
and  forward  until  an  even  coating  is  put  on.  See 
that  the  edges  are  not  neglected.  With  a knife  blade 
lift  one  corner  of  this  print,  grasp  it  with  the  Anger 
and  thumb  of  the  left  hand,  and  raise  it  off  the  other 
prints ; at  the  same  time  take  hold  of  the  lower  edges 
and  turn  it  in  such  a manner  that  the  print  Avill  be 
suspended  paste  side  down  between  the  two  hands. 
Now  bring  it  over  to  the  card-board  or  mount,  and 


TRIMMING  AND  MOUNTING  PRINTS. 


63 


poise  it  over  the  middle.  Gently  lower  the  center  of 
the  print  down  to  tlie  mount,  and  carefully  push  one 
edge,  and  then  the  other  down  to  tlie  carboard  sur- 
face. Place  a clean  piece  of  paper  on  the  print,  and, 
commencing  at  the  center,  rnb  with  the  hand  toward 
one  end  and  then  toward  the  otlier,  to  press  out  all 
air  from  underneath  tlie  print.  If  it  appears  to  be 
smoothly  pasted  on,  lay  the  mount  aside.  After  jmii 
have  finished  mounting  prints,  wash  off  the  glass,  and 
cleanse  the  brush. 

Please  set  the  mounts  up  separately  to  dry. 

Let  me  suggest  at  this  point,  before  I forget  it,  a 
handy  appliance  for  mounting,  or,  in  other  words, 
rolling  down  your  prints  after  they  have  been  pasted. 
It  consists  of  a round  turned  stick,  over  Avhich  a 
piece  of  rubber  tubing  has  been  drawn  to  cover  the 
surface,  and  to  fit  tightly.  Six  inches  would  be  a 
convenient  length  for  tlie  stick  and  tubing.  Put  a 
three  quarter  inch  screw  in  the  center  of  each  end  of 
the  stick.  Bend  a piece  of  stout  wire  in  a half  circle, 
and  then  twist  the  two  ends,  so  that  the  screws  will 
go  into  the  rings  thus  made  as  tar  as  their  heads. 
Passing  the  screw  up  to  the  heads,  through  these  two 
ends,  and  turning  them  into  the  ends  of  the  stick, 
you  will  have  a handy  implement  for  rolling  dowm 
the  prints  after  they  are  laid  on  the  mount.  Should 
the  occasion  arise  when  you  desire  to  mount  a pic- 
ture on  very  thin  card-boai*d  or  on  paper,  the  follow- 
ing special  material  should  be  used  if  you  would 
have  the  prints  when  dry,  lay  flat  and  be  free  from 


64 


HOW  TO  MAKE  PICTUllES. 


puckers.  Take  of  ISTelson’s  No.  1 gelatine  four 
ounces : water,  sixteen  ounces.  Allow  the  gelatine 
to  soak  in  the  water  for  ten  minutes,  then  set  the 
bottle  containing  it  in  hot  water  to  make  the  gelatine 
dissolve,  after  which  add  one  ounce  of  glycerine,  and 
then  five  ounces  of  alcohol.  With  the  paste  thus  made 
there  will  be  no  trouble  about  mounting  prints  ac- 
cording to  the  pre- 
vious directions  i n 
this  chapter.  This 
paste  requires  warm- 
ing  (by  setting  the 
bottle  in  hot  water) 
before  use.  WTiether 
the  mounted  prints 
shall  be  framed  or 
put  in  a portfolio,  is 
left  to  the  taste  of  the 
amateur.  As  neat  an 
arrangement  as  I have 
ever  seen  for  holding 
pictures,  consists  of  a 
pair  of  covers  made 
with  expanding  backs,  so  that  from  six  to  twenty- 
four  pictures  may  be  inserted  in  one  cover.  Figure 
26  represents  the  cover,  with  perforations  in  the 
back  through  which  the  spreading  clasps  ot  the  paper 
fastener  bind  the  whole  together.  The  pictures  are 
mounted  in  the  usual  way,  and  strips  of  linen  or 
strong  paper  of  the  proper  width  are  pasted  on  one 


TEIMMING  AND  MOUNTING  PRINTS. 


65 


edge,  through  holes  in  which,  as  jnst  intimated,  pa- 
per fasteners  are  inserted.  These  can  easily  be  put 
in,  or  taken  out.  The  whole  arrangement  is  simple 
and  will  be  comprehended  at  a glance.  For  binding 
together  views,  a series  or  set  of  landscapes,  or  photo- 
graphs of  any  kind,  they  are  very  serviceable. 


CHAPTER  X. 


ITEMS  TO  BE  BORNE  IX  MINI). 

In  summer,  keep  your  solutions  cool ; also  use  cold 
water  in  washing  the  gelatine  plates. 

In  winter  keep  your  solutions  from  freezing. 

Should  crystallization  appear  on  a negative  after 
it  is  dry,  it  shows  a failure  to  thoroughly  wash  the 
negative  before  drying. 

Do  not  use  the  fixing  pan  for  any  other  purpose 
than  to  hold  the  hypo  solution  ; label  the  pan 
so  that  there  will  be  no  mistake. 

Always  wash  your  hands  after  using  the  hypo-sul- 
phite of  soda  solution,  and  before  handling  another 
plate. 

After  removal  from  the  fixing  solution,  the  nega- 
tive must  have  the  hyposulphite  of  soda  thoroughly 
washed  out  of  the  film.  This  is  important. 

All  trays  and  measures  should  be  washed  out  after 
developing  each  plate. 

Should  you  pour  too  much  iron  solution  into  the 
oxalate  solution  it  will  cause  a yellow  precipitate  to 
form.  Always  add  the  iron  to  the  oxalate,  and  do  not 
reverse  the  order,  or  the  same  trouble  will  ensue. 


ITEMS  TO  BE  BORNE  IN  MIND. 


67 


Never  fail  to  pour  clear  water  over  the  plate  be- 
fore developing.  If  you  follow'  this  direction,  dis- 
agreeable markings,  resulting  from  a stoppage  in  tlie 
flow  of  tlie  developer,  wdll  be  avoided,  and  at  the 
same  time  air  bubbles,  wdiich  cause  transparent  spots 
in  the  negative,  will  be  prevented. 

A plate  varnished  before  it  is  thoroughly  dry,  has 
a milky  appearance. 

Keep  sensitized  plates  in  a cool  dry  place  : damp- 
ness causes  them  to  mildew. 

Clear  negatives  cannot  be  produced  wdth  an  alka- 
line sample  of  oxalate  of  potash. 

Bromide  in  the  developer  restrains  its  action,  but 
too  much  destroys  detail  in  the  shadows. 

If  Tieo^atives  show"  too  much  contrast  between  the 
light  and  the  dark  portions,  w'eaken  the  developer  by 
the  addition  of  w'ater. 

By  taking  an  extra  ground  glass  wdien  going  far 
way  from  a base  of  supplies,  should  the  one  *in 
use  get  broken,  the  second  one  w"ill  be  a w'elcome 
substitute. 

Under  exposure  gives  strong  and  clear  shadow"S, 
but  the  picture  produced  from  the  negative  is  w"ant- 
ing  in  detail,  and  has  a hard  appearance. 

Dust  off  the  surface  of  gelatine  plates  wdth  a soft 
camel’s  hair  brush.  The  so-called  pin  holes  in  the 
negative  are  caused  by  dust.  In  this  connection  it 
will  be  w'ell  to  add,  keep  the  camera,  lens,  and 
holder  well  dusted  out,  for  no  evil  effect  will  result 
from  it.  Quite  the  reverse. 


CHAPTER  XL 


PHOTOGRAPHY  FOR  LADIES. 

Although  the  art  beautiful  has  some  conspicuous 
and  skillful  devotees  in  an  amateur  way  among  the 
ladies,  the  time  and  appliances  have  not  been  ripe 
until  now  for  popularizing  this  recreation  among 
them.  To  have  mastered  a science  or  art,  when  the 
difficulties  surrounding  it  have  not  been  conquered 
by  genius,  is  praiseworthy,  and  therefore  much  credit 
is  due  to  the  pioneer  picture  makers  of  the  fair  sex. 
The  same  results  that  they  achieved,  and  better,  can 
now  be  obtained  by  perfected  appliances  which  I am 
about  to  describe. 

If  amateur  photography  is  pleasant  with  the  en- 
vironment shown  in  the  illustration  on  the  following 
page,  can  the  gentler  sex  resist  an  accomplishment 
which  henceforth  may  combine  the  maximum  of 
grace  and  fascination?  Here,  as  well  as  abroad, 
amateur  photography  is  destined  to  be  taken  up  by 
ladies  of  rehnement  and  quick  artistic  perception. 
The  “ tyrant  man  ” will  not  be  needed  to  carry  about 
a pocket  outfit,  consisting  of  a 4 x 5 camera,  accom- 
panying dry  plate  holder,  and  an  extension  tripod, 
weighing  complete  but  three  and  three  quarters 
pounds. 


> 


X 


PHOTOGRAPHY  FOR  LADIES. 


69 


Figure  ~No.  27  depicts  a pocket  camera  when 
folded  np.  Such  cameras  are  made  in  two  sizes, 
viz.,  4x5  and  5x8  inches.  This  recently  patented 
pocket  camera  is  provided  with  brass  pieces  hinged 
to  the  frame  of  the  camera,  and  movable,  so  that 
they  may  be  either  folded  down  upon  the  side  of  the 
camera,  or  swung  out  to  button  on  to  the  camera 
front,  when  it  is  drawn  out  and  the  bellows  ex- 
tended. No  little  pains  and  ingenuity  w^ere  expended 
to  combine  utility  with  compactness.  The  resulting 
apparatus  looks  so  simple  that  one  is  tempted 
to  exclaim,  “any  one  could  have  contrived 
that.”  Many  have  tried  to  make  pocket  cam- 
eras, but  have  succeeded  only  in  name,  not 
in  reality.  This  4x5  pocket  camera  when 
folded  up  compactly  is  but  one  and  three  quarters 
inches  thick,  wdiich  is  not  more  space  than  an  ordi- 
nary book  occupies.  No  case  is  needed  to  stow  it  in 
and  take  it  about.  The  aforesaid  being  of  the  sterner 
sex  will  undoubtedly  put  such  a camera  away  in  one 
pocket,  and  the  plate  holders  in  another.  It  would 
be  quite  recherche  for  the  ladies  to  use  for  this  pur- 
pose a hand  satchel  or  velvet  bag.  The  latter  espe- 
cially might  be  made  very  handsome,  and  at  the 
same  time  so  as  to  be  used  for  a focusing  cloth.  An- 
other new  pocket  camera,  for  which  application  for 
a patent  has  been  made,  is  provided  with  lazy  tong 
levers^  which  permit  the  front  to  be  drawn  out  for 
focusing,  to  be  swung  up  or  down  ; there  is  also  con- 
siderable freedom  of  motion  to  one  side  or  the  other. 


70 


HOW  TO  MAKE  PICTURES. 


Either  style  of  camera  is  made  of  mahogany,  tinished 
in  the  finest  style.  The  bellows  are  of  a purplish  hue, 
wonderfully  harmonizing  with  the  mahogany  and 
polished  brass  work  of  the  camera.  The  fiange  on 
the  front  board  has  a thread  cut  inside  in  such  a 
manner  as  to  permit  the  lens,  when  not  in  use,  to  be 
screwed  on  inside,  and  thus  to  be  neatly  sto’wed  away 
in  the  camera.  American  lenses  are  the  best  to  use 
in  connection  with  pocket  cameras.  Accompanying 
the  pocket  cameras  are  single  dry  plate  holders  which 
will  deserve  mention.  Figure  28  illustrates  one  of 
them.  Upon  the  stopper  to  the  slide  a 
catch  is  set  which  hooks  into  an  eye  on 
the  frame  of  the  holder.  At  the  pleasure 
of  the  initiated  amateur  the  catch  may  be 
unset,  and  the  slide  drawn  out.  The 
movable  back  of  this  incomparable  plate  holder  has 
rabbeted  edges,  which  slide  under  grooves  in  the 
edge  of  the  frame,  and  a spring  at  the  top  of  the 
plate  holder  holds  the  back  in  place. 

Another  spring  on  the  under  surface  of  the  back 
keeps  the  plate  in  focus,  and  also  serves  to  throw  out 
the  back  after  it  has,  by  upward  pressure  of  the  hands 
on  its  outer  surface,  been  moved  far  enough  to  allow 
the  rabbeted  edge  to  slide  out  from  under  the  edge 
of  the  holder.  This  holder  will  serve  alike  for  use 
in  the  studio,  and  for  out-door  work. 

The  tripod,  devised  especially  for  use  with  pocket 
outfits,  is  not  intended  to  be  put  in  any  pocket,  un- 
less it  be  those  possessed  by  people  of  the  stature  of 


FIG.  28. 


PHOTOGRAPHY  FOR  LADIES. 


71 


the  Chinese  giant ; bnt,  when  its  extension  legs  are 
drawn  up,  it  is  very  compact,  and  in  height  but  two 
feet  and  nine  inches. 

Glance  at  figure  29.  The  button  on  each  leg 
may  be  turned  at  pleasure,  thus  shortening  or  length- 
ening them,  and  giving  with  celerity  any  incline 
needed  for  the  cam- 
era by  a very  easy 
method.  Such  a tri- 
pod does  not  unjoint. 

Where’s  the  neces- 
sity of  it  ? In  a flash 
it  can  be  gotten  ready 
for  use,  and  there  is 
no  part  to  be  de- 
tached and  lost. 

Because  these 
pocket  cameras  and 
holders  are  so  com- 
pact, men  in  busi- 
ness, or  for  pleasure 
excursions  will  make 
use  of  them.  There 
need  be  no  quarrel 
as  to  who  shall  pos- 
sess such  cameras. 

Ladies  and  gentlemen  alike  or  together  might 
share  in  their  use,  and  the  pleasure  they  may  afford. 
Some  of  the  Amateur  Photographic  Societies  now 
forming  will  do  a graceful  act  by  inviting  ladies  to 


72 


HOW  TO  MAKE  PICTURES. 


their  membership.  This  latter  will  seem  like  a dis- 
sertation, and  without  question  it  is. 

Kather  to  you,  reader,  should  be  assigned  the  duty 
of  arousing  enthusiasm  for  the  art,  and  winning  to  it 
votaries  fair  and  gentle. 


CHAPTER  XII. 


USEFUL  INFORMATION. 

Plates  sometimes  commence  to  pucker  at  the  edge. 
This  is  called  rilling P Should  it  show  itself  at 

any  stage  of  the  manipulation,  immediately  remove 
the  recalcitrant  plate  and  flow  over  its  surface  a sat- 
urated solution  of  alum,  wash  the  plate,  and  proceed 
from  the  point  where  you  left  off.  A strong  solu- 
tion of  hyposulphite  of  soda  often  causes  frilling,  so 
do  warm  solutions,  and  treating  the  negative  with  a 
weak  solution  of  acids. 

Over-exposed  plates,  if  not  properly  controlled  in 
the  developing,  have  a foggy  appearance,  and  they 
make  weak  prints. 

If  the  edge  of  the  plates,  which  were  protected  by 
the  grooves  in  the  holder,  remain  clear,  then  fogging 
comes  from  lack  of  care  in  developing. 

When  a plate  is  under-exposed  its  shadows  are 
clear  but  weak. 

Negatives  which  require  a long  time  to  fix  show 
one  of  two  things  ; either  the  hyposulphite  of  soda 
solution  is  too  strong  or  too  weak.  About  one  ounce 
of  the  soda  to  six  ounces  of  water,  is  a safe  rule  to 
go  by  in  making  this  solution. 

4 


74 


HOW  TO  MAKE  PICTUKES. 


Negatives  from  which  a number  of  prints  are  re- 
quired must  be  varnished,  or  otherwise  they  will 
turn  red  from  a combination  of  the  free  silver  in  the 
sensitized  paper  with  the  gelatine  film  of  the  nega- 
tive. Exposed  plates  may  be  kept  some  weeks  be- 
fore developing,  but  the  better  plan  is  to  do  this  as 
soon  as  possible  after  taking  the  view. 

Should  a plate  by  accident  be  exposed  to  light,  it 
may  possibly  be  recovered  for  service  in  the  follow- 
ing manner  : In  two  ounces  of  water  dissolve  twenty 
grains  bichromate  of  potash.  Into  this  solution  lay 
the  light-struck  plate  for  five  minutes  : of  course  this 
is  done  in  the  darTc  room.  At  the  expiration  of  the 
time,  it  is  taken  out  of  the  solution  and  washed  in 
several  changes  of  fresh  water,  and  set  up  to  dry  b}^ 
ruby  light.  When  dry  the  plate  is  ready  to  be 
placed  in  a plate  holder  and  exposed.  If  not  to  be 
used,  pack  the  plate  away  where  concealed  from  light. 

When  a plate  is  exposed  in  the  camera  and  you 
are  certain  that  the  result  is  not  good,  as  for  instance ' 
in  taking  a group  of  which  one  or  more  of  the  fig- 
ures moved,  put  the  plate  through  the  mild  course 
of  treatment  just  prescribed,  and  it  may  be  rejuven- 
ated for  use  a second  time  with  a more  successful 
result. 

Mistakes  in  timing  an  exposure  are  man3^  The 
professional  photographer  may  err.  If  the  calcula- 
tion cannot  be  made  with  certainty,  have  the  error 
on  the  side  of  over  rather  than  under-exposure,  as 
the  former  can  be  controlled  in  the  development. 


USEFUL  INFORMATION. 


75 


Too  much  density  in  a negative  can  be  reduced 
by  flowing  over  the  fllm,  after  it  has  been  washed 
with  water,  the  following  solution:  Water  six 

six  ounces,  chloride  of  iron  one  drachm-.  If  the  re- 
duction is  to  he  only  a slight  one,  make  the  pro- 
portion of  water  greater.  After  a brief  period  wash 
the  negative  and  place  it  in  the  flxing  solution  once 
more,  then  wash  it  well  to  remove  the  hypo,  and  set 
the  negative  up  to  dry.  Should  only  small  portions 
of  the  negative  require  reducing,  wash  the  plate, 
after  which,  with  care,  apply  the  reducer  to  the  parts 
requiring  it  with  a soft  brush,  and  then  wash  the 
plate  and  put  it  in  the  flxing  solution. 

Density  in  a negative  may  be  increased  in  this 
way.  After  the  detail  is  brought  out  with  the  oxa- 
late developer  you  are  using,  pour  it  off  and  flow 
over  the  plate  an  old  oxalate  developer  mentioned 
on  page  49,  containing  three  grains  to  the  ounce  of 
bromide  of  potassium.  It  after  this  treatment  you 
still  lack  the  density  you  desire,  fix  the  plate  in  a 
solution  made  up  as  follows : Dissolve  one  ounce  of 
proto-sulphate  of  iron  in  three  ounces  of  water.  In 
another  bottle  dissolve  one  ounce  of  hyposulphite  of 
soda  in  three  ounces  of  water.  Mix  the  two  solu- 
tions in  a tray,  permit  them  to  stand  a while,  and 
then  immerse  the  negative  in  the  mingled  solutions. 
After  flxing,  wash  and  dry  the  negative. 

Notebooks  aftbrd  a means  of  recording  everything 
essential  relating  to  the  exposure  of  a plate  in  the 
camera.  Do  not  fail  to  make  use  of  them,  as  ad- 


76 


HOW  TO  MAKE  PICTURES. 


monished  in  a previous  cliapter.  Compare  the  re- 
sults and  try  to  avoid  a repetition  of  the  least  desira- 
ble ones,  ^^umber  your  negatives  to  correspond 
with  the  book. 

How  to  Make  Transparencies,— lu  the  dark  room 
illuminated  by  ruby  light,  place  a negative  film  side 
up  in  the  printing  frame ; on  the  surface  of  the  neg- 
ative lay  a gelatine  plate  of  the  slow  kind  film  side 
down.  (For  this  purpose  special  plates  are  prepared 
and  sold.)  Put  the  back  in  the  printing  frame, 
fasten  the  springs  and  cover  the  frame  with  the 
focusing  cloth,  taking  it  into  a room  where  a gas 
or  kerosene  light  is  burning.  Hold  the  frame  with 
the  negative  towards  the  light,  and  distant  about 
twelve  inches  from  it.  Take  off  the  focusing  cloth, 
give  a few  seconds  exposure,  re-cover  the  printing 
frame  and  return  to  the  dark  room.  Develop  the 
gelatine  plate  the  same  as  if  it  had  received  an  ex- 
posure in  the  camera.  The  result  should  be  a fine 
positive  picture  or  transparency,  which  is  fixed, 
washed,  and  dried,  and  then  is  ready  to  be  put  in  a 
nickel-plated  frame  with  a ground  glass  at  the  back, 
and  hung  where  the  light  shines  through  it — probably 
to  adorn  a window. 


Fogging,— Yoggmg,  as  defined  by  Lake  Price,  “is 
an  opaque  film  covering  a negative,  which  obliterates 
the  forms,  preventing  them  from  being  clearly  dis- 
tinguished in  whatever  direction  they  may  be  viewed.” 


USEFUL  INFORMATION. 


77 


Thomas  Sutton  writes  thus  concerning  it:  ‘‘When  a 
precipitate  is  thrown  over  the  entire  plate  by  the 
action  of  the  developer,  so  as  to  obscure  in  the 
deepest  shadows  the  transparency  of  the  glass  when 
looked  through,  it  is  fog.'’  The  causes  of  fog  are 
many.  It  may  result  from  white  light  falling  on  the 
sensitive  plate. 

Another  cause  is  defective  development. 

Another,  hyposulphite  of  soda  getting  in  the 
developer. 

Or  chemicals  put  on  the  plate  from  the  hands, 
which  were  not  washed. 

Or  trying  to  force  the  development  of  an  under- 
exposed plate. 

Not  properly  modifying  the  developer  for  an  over- 
exposed plate. 

Using  an  alkaline  sample  of  oxalate  of  potash. 

Or  exposing  plates  in  an  old  holder  having  free 
silver  about  it. 

When  troubled  with  fog  examine  the  gelatine 
plate,  and  if  the  edges  which  were  protected  by  the 
rabbeted  edge  of  the  holder,  are  clear,  the  fault  is 
chargeable  to  the  development,  as  the  plate  was 
evidently  over-exposed  and  the  developer  not  modi- 
tied  to  meet  the  case.  If  the  fog  is  all  over  the 
plate  it  may  have  come  from  Avliite  lights,  from  an 
alkaline  oxalate,  from  under-exposure  and  forcing 
the  development. 


78 


HOW  TO  MAKE  PICTURES. 


WEIGHTS  AND  MEASUEES. 

APOTHECARIES’  WEIGHT. 

SOLID  MEASURE. 

20  Grains  = 1 Scruple  = 3 
3 Scruples  = 1 Drachm  ==  3 
8 Drachms  = 1 Ounce  = 5 
12  Ounces  = 1 Pound  = lb. 

FLUID. 

60  Minims  = 1 Fluid  Drachms  3 

8 Drachms  = 1 Ounce  § 

20  Ounces  = 1 Pint 

8 Pints  = 1 Gallon 

The  above  weights  are  those  usually  adopted  in 
formulas,  and  are  what  are  used  in  the  foregoing 
chapters.  As  the  amateur  advances  in  the  picture 
making  art  he  will  without  doubt  read  up  in  photo- 
graphic literature,  a course  which  cannot  be  too 
highly  commended. 

He  will  also  be  inclined  to  experiment  a little.  It 
is  an  undisputed  fact  that  to  the  amateur,  photo- 
graphy owes  fully  as  much  for  progress  and  inven- 
tive skill  as  to  the  professional  photographer. 

Photography  in  England  is  indebted  during  many 
years  past  for  improvements  and  discoveries  almost 
wholly  to  the  amateur’s  researches  and  experiments. 
It  is  safe  to  assert  that  the  amateur  in  this  country 


USEFUL  INFORMATION. 


79 


will  rival  his  brother  across  the  water  in  the  display 
of  ingenuity. 

In  trying  different  formulas,  many  of  which  are 
written  by  the  French  standard  of  weights  and  meas- 
ures, the  following  tables  will  save  a considerable 
amount  of  figuring,  bother  and  failure. 

French  Fluid  Meastires,—^\iQ  cubic  centimetre 
usually  represented  by  c.  c.”  is  the  unit  of  the 
French  measurement  for  liquids.  It  contains  nearly 
seventeen  minims  of  water;  in  reality,  it  contains 
16.896  minims.  The  weight  of  this  quantity  of 
water  is  one  gramme.  Hence  it  will  be  seen  that 
the  cubic  centimetre  and  the  gramme  bear  to  each 
other  the  same  relation  as  our  drachms  for  solids  and 
the  drachms  for  fluids,  or  as  the  minim  and  the  grain. 
The  following  table  will  prove  to  be  sufficiently  ac- 
curate for  photographic  purposes : 


1 cubic  centimetre 

= 17  minims  (as  near  as  possible). 

2 cubic  centimetres 

= 34  minims 

3 

(( 

= 51 

U 

4 

(( 

68 

ii 

or  1 drachm 

8 minims. 

5 

(( 

= 85 

ii 

i;  j 44 

25 

6 

ib 

= 102 

“ 1 

42 

7 

U 

= 119 

ii 

“ 1 

59 

8 

= 136 

ii 

“ 2 drachms  16  “ 

9 

= 153 

“ 2 

33 

10 

(( 

= 170 

“2  “ • 

50 

20 

(( 

= 340 

“ 5 

40 

30 

U 

= 510 

U 

“ 1 ounce 

0 drachm 

30 

40 

(( 

= 680 

ii 

“ 1 

3 drachms  20 

50 

is 

= 850 

ii 

“ 1 

6 

10 

60 

ii 

= 1020 

ii 

“ 2 ounces 

1 

0 

70 

a 

= 1190 

ii 

“ 2 

3 “ 

50 

80 

a 

= 1360 

ii 

u 2 

6 

40 

90 

(( 

= 1530 

ii 

“ 3 

1 

30 

100 

( ( 

= 1700 

“ 3 

4 

20 

80 


HOW  TO  MAKE  PICTURES. 


The  Conversion  of  French  into  English  Weight, — 
Although  a gramme  is  equal  to  15.4346  gi’ains,  the 
decimal  is  one  which  can  never  be  used  by  photog- 
raphers ; hence  in  the  following  table  it  is  assumed 
to  be  15-^  grains,  which  is  the  nearest  approach  that 
can  be  made  io practical  accuracy: 


1 gramme 

15f  grains. 

2 grammes 

= 

305^ 

( i 

3 

= 

46^- 

4 

61f 



or 

1 

drachm 

If  grain. 

5 

77 

t ( 

1 

“ 

17  grains. 

6 

= 

921 

“ 

“ 

1 

“ 

321  “ 

7 

— 

107f 

( < 

1 

ii 

474  “ 

8 

= 

133i 

( t 

2 draclims 

34  “ 

9 

r= 

138f 

i c 

“ 

2 

“ 

00 

10 

= 

154 

i ( 

( t 

2 

34 

11 

= 

1691 

<( 

2 

44 

49f  “ 

12 

1841 

( 4 

3 

4 4 

44  “ 

13 

= 

2004 

4 4 

“ 

3 

204  •• 

14 

2151 

4 4 

3 

“ 

35f  “ 

15 

- 

231 

i 4 

3 

“ 

51 

16 

2461 

4 i 

4 

“ 

6f  “ 

17 

2614 

i 4 

4 

214  “ 

18 

— 

2774 

4 ( 

“ 

4 

374  “ 

19 

=: 

292f 

4 4 

4 

“ 

52f  *• 

20 

— 

308 

4 4 

5 

8 

30 

--- 

462 

4 i 

7 

it 

42  ‘‘ 

40 

— 

616 

4 4 

10 

“ 

16 

50 

770 

“ 

“ 

12 

it 

50 

60 

924 

“ . . 

4 4 

15 

24 

70 

1078 

“ 

4 4 

17 

58 

80 

= 

1232 

“ 

“ 

20 

4i 

32 

90 

1386 

“ 

“ 

23 

U 

6 

100 

1540 

“ 

( 4 

25 

40 

USEFUL  INFORMATION. 


81 


Measuring  with  a Glass  Graduate, — Qn  the 
graduated  glass  you  will  find  lines  and  figures  as 
shown  by  the  diagram  below.  The  figures  1,  2,  3 
and  4,  on  the  left  hand  of  the  center  line,  represent 
ounces,  and  so  also  does  the  mark  5 designate  the 
same.  The  short  lines  between  the  ounce  lines,  1, 
2,  3,  4,  represent  half  ounces.  On  the  lower  right 
hand  side  of  the  center  line  you  will  find  the  figures 
2,  4,  6 and  8.  These  represent  drachms ; and  the 
mark  or  character  3 is  used  to  denote  drachms.  Ex- 
ample : To  measure  two  ounces  and  six  drachms,  fill 
the  graduate  to  the  line  with  figure  2 at  left  hand 
side,  pour  this  out  into  the  vessel  designed  for  the 
solution,  then  fill  the  graduate  to  the  line  with  figure 
6 on  the  I’ight  hand  side ; this  is  six  drachms. 
Add  this  to  the  two  ounces  just  measured,  which 
gives  you  two  ounces  and  six  drachms. 


CHAPTER  XIII. 


INSTANTANEOUS  PHOTOGRAPHY. 

Considerable  is  heard  about  instantaneous  pho- 
tography at  the  present  time.  It  is  a subject  that 
interests  every  one.  When  made  practicable  the 
photographer  eagerly  seized  hold  of  the  lightning 
process,  applied  it  in  taking  the  pictures  of  babies 
and  restless  children,  and  in  many  other  ways.  It 
is  enough  to  lure  any  one  into  amateur  photography, 
the  very  thought  of  picturing  animated  objects  dis- 
tinctly with  all  of  the  appearance  of  motion  instantly 
arrested.  The  amateur  may  infer  that  the  appli- 
ances for  securing  instantaneous  pictures  are  very 
complicated.  Not  at  all ! It  is  necessary  to  use  gela- 
tine plates  of  great  sensitiveness.  These  are  regu- 
larly kept  on  hand  by  dealers  in  photographic  goods. 
The  second  requisite  is  that  the  lens  used  on  the 
camera  should  be  provided  with  a drop,  as  shown  in 
figure  8,  and  described  on  page  26  ; or  else  that  in- 
stantaneous shutters  be  fitted  on  to  the  lens  or  camera. 
The  day  chosen  for  taking  the  picture  should  be  a 
bright  one,  and  the  time  between  ten  a.m.  and  two 
p.M.  is  much  to  be  preferred.  See  that  the  object  to 
be  photographed  is  brightly  illuminated  on  the  side 


INSTANTANEOUS  PHOTOORAPHY. 


83 


toward  the  camera.  Suppose  a passing  steamboat 
first  calls  into  use  the  instantaneous  drop  on  a lens 
you  possess.  Your  ambition  is  suddenly  awakened 
when  the  boat  looms  up  in  the  distance,  and  you 
plant  the  tripod  and  point  the  camera  toward  where 
it  will  soon  pass.  Judge  how  far  it  will  be  away 
from  you  as  it  glides  by,  and  obtain  an  approximate 
focus  for  this  distance. 

If  possible  focus  upon  an  object  as  remote  as  the 
steamboat  will  be  in  passing  the  point  where  the  pic- 
ture is  to  be  taken.  Secure  the  focus  by  this  method, 
or  by  using  your  own  judgment.  If  the  drop  is  not 
already  in  the  lens  put  it  in,  and  hold  it  up  by  a turn 
of  the  button  underneath  the  lens. 

Substitute  a holder  for  the  ground  glass.  As  the 
steamboat  is  now  near  at  hand,  draw  out  the  dark 
slide,  separating  the  sensitive  plate  from  the  camera, 
and  lay  it  on  top  of  the  latter.  Stand  behind  the 
camera  grasping  the  cord  attached  to  the  button  hold- 
ing up  the  instantaneous  drop. 

Keep  cool  as  an  old  hunter,  glance  your  eyes  over 
the  top  of  the  camera,  and  when  the  boat  arrives  at 
a point  directly  in  the  line  that  the  lens  points  to, 
pull  the  cord.  As  the  opening  in  the  drop  passes 
through  the  lens  the  light  flashes  through  the  aper- 
ture to  the  gelatine  plate,  and  the  image  is  impressed 
there.  Is  there  any  other  demonstration  needed  of 
the  rapidity  with  which  light  travels  ? The  amateur 
may  have  been  nervous,  and  have  pulled  the  cord  too 
soon.  Instead  of  the  whole  steamboat,  he  finds  but 


84 


HOW  TO  MAKE  PICTURES. 


the  forward  half  of  it  when  the  picture  is  brought 
out,  or,  on  the  other  liand,  only  tlie  stern  and  the 
wake  of  the  boat  may  be  caught.  Sport,  like  shoot- 
ing at  birds  in  their  flight,  cannot  be  more  exciting 
and  exhilarating.  If  the  amateur  shoots  ” at  a 
steamboat  with  his  camera  and  hits  a barge,  lie  will 
succeed  better  upon  the  next  trial.  The  fall  of  the 
instantaneous  drop  by  the  law  of  gravitation  will  do 
for  the  first  attempt;  after  a time  the  amateur  will 
scheme  and  contrive  by  the  use  of  an  elastic  band 
over  the  top  of  the  drop,  or  by  some  other  device,  to 
shorten  the  exposure.  The  ambition  to  reduce  the 
time  from  J-g-  to  ^ second  and  less,  is 

similar  to  that  of  turfmen  in  striving  to  have  their 
racers  excel  all  previous  records  of  time. 

Shootino^  vachts  that  are  dashin^:  alone:  throuo:h  the 
waves  under  full  sail,  is  a favorite  accomplishment  of 
the  full  fledged  amateur.  The  beauty  and  life  of  the 
yacht  may  be  portrayed  perfectly. 

The  only  cautions  I have  to  give,  are,  do  not  at- 
tempt too  much  at  first  in  instantaneous  work  ; and 
the  other  piece  of  advice  relates  to  the  development 
of  gelatine  plates  exposed  but  for  a fractional  part  of 
a second.  More  care  is  needed  than  for  the  ordinary 
plates.  My  plan  is  to  mix  a fresh  developer  for  each 
plate,  consisting  of  two  ounces  of  oxalate  of  potash 
solution,  and  a quarter  of  an  ounce  of  the  iron  solu- 
tion ; should  this  prove  too  weak,  more  iron  solution 
may  be  added,  but  do  not  put  in  too  much.  When 
the  details  are  brought  out,  pour  ofl  the  developer, 


INSTANTANEOUS  PHOTOGKAPHY. 


85 


and  flow  over  the  plate  some  of  the  old  oxalate  de- 
veloper as  described  on  page  49.  This  will  give 
density  without  danger  of  fogging  the  plate.  Wash 
and  fix,  then  wash  and  dry.  After  tlie  negative  is 
dry,  if  on  examination  it  requires  to  be  strengthened, 
proceed  as  follows:  Lay  the  plate,  film  side  up,  in  a 
tray  containing  clear  water,  while  you  mix  the  in- 
tensifying solution.  In  thirty-two  ounces  of  water 
(one  quart)  dissolve  one  ounce  of  chloride  of  am- 
monia, and  one  ounce  chloride  of  mercury.  Pour  off 
the  water  from  the  plate,  and  cover  it  with  some 
of  the  above  mercury  solution  diluted  one  half  with 
water  (that  is,  an  equal  part  of  the  solution  and 
water).  Leave  this  on  the  plate  until  it  has  uniformly 
whitened,  wliich  will  take  but  a lew  seconds,  then 
pour  it  off  and  wash  the  plate  well;  also  rinse  out 
the  tray,  into  which  replace  the  plate,  film  side  up. 

Take  four  ounces  of  water,  and  to  it  add  one 
drachm  of  liquid  ammonia ; pour  this  on  the  plate, 
so  it  flows  quickly  and  evenly  over  it.  The  negative 
will  turn  dark  brown.  As  soon  as  it  has  done  so,  re- 
move it  from  the  tray,  wash,  and  set  it  up  to  dry. 

Throw  away  the  ammonia  solution,  and  wash  out 
the  tray. 

Allusion  was  made  in  the  introductory  chapter  to 
taking  pictures  of  horses  while  they  were  speeding 
around  the  race  track.  The  method  by  which  this 
, was  accomplished  has  been  so  often  described  that 
repetition  is  unnecessary.  Some  achievements  last 
summer  of  the  well  known  veteran  photographic 


86 


HOW  TO  MAKE  PICTURES. 


journalist,  Mr.  J.  Traill  Taylor,  deserve  mention. 
From  the  deck  of  a steamer  plying  out  to  a pleasure 
retreat  on  Long  Island  Sound,  he  ‘‘  shot  ” at  and 
secured  the  pictures  of  yachts  skimming  along  in  an 
opposite  course.  Again,  on  Boston  Bay,  in  a little 
steamer  that  tossed  about  like  a cockle  sheli,  the 
temptation  to  point  his  lens  at  some  passing  boats 
could  not  be  resisted,  so  he  did  not  try  to  withstand 
the  allurement.  It  \vas  of  no  use  to  fasten  the  cam- 
era on  to  the  tripod ; better  sea  legs  were  required, 
and  these  were  supplied  by  the  photographic  littera- 
teur. Placing  the  camera  under  one  arm,  at  the  right 
moment  he  touched  the  trigger,  releasing  the  instan- 
taneous drop,  light  flashed  through  the  lens,  and 
fixed  upon  the  sensitive  plate  the  impression  of  an 
animated  marine  view.  Pity  the  man  who  could  not 
appreciate  such  sport.  In  his  journalistic  capacity, 
Mr.  Taylor  may  be  called  upon  to  record  many  skill- 
ful instantaneous  shots  made  by  men  who,  after 
reading  this,  will  strive  to  outdo  him  with  feats 
more  wonderful  than  his. 


CHAPTER  XIY. 


STEREOSCOPIC  PICTURES. 

How  to  Make  and  Mount  Them, — The  camera 
used  to  make  stereoscopic  pictures  should  take  a 5 x 8 
inch  plate  in  the  holder,  have  an  upright  division 
through  the  center,  and  upon  the  front  board  a pair 
of  matched  view  lenses  screwed  into  the  flanges. 
Such  are  the  requisites  for  this  special  service.  Make 
sure  that  the  central  partition  called  a stereo-division, 
is  fastened  in  place. 

Some  discerameiit  is  needed  in  selecting  the  sub- 
ject for  a stereo-view.  If  the  camera  points  to  a dis- 
tant hillside  and  there  is  no  near  object  included  in 
the  range,  the  view  will  appear  flat  when  seen  through 
the  stereoscope,  and  will  not  seem  to  stand  out  from 
the  mount.  There  should  be  included  in  the  image  re- 
flected on  the  ground  glass  a near  as  well  as  the  more 
remote  view.  Some  shrubbery,  the  stump  of  a tree,  or 
any  distinct  and  still  object  will  answer.  Stereo  pictures 
made  upon  this  principle  have  the  most  seeming  actual- 
ity about  them.  If  the  two  pictures  seen  upon  the 
ground  glass  are  exactly  alike,  it  is  a proof  that  the 
lenses  in  use  are  well  matched.  After  focusing  put 
the  plate  holder  up  in  place  of  the  ground  glass.  . 


88 


HOW  TO  MAKE  TICTUKES. 


As  it  is  essential  to  success  that  the  exposure  of 
the  two  lenses  should  be  made  at  the  same  time, 
place  the  focusing  cloth  on  top  of  the  camera,  falling 
over  to  cover  the  lenses,  and  keep  the  cloth  tightly 
drawn  over  them.  Pull  out  the  dark  slide,  and  as 
usual  lay  it  on  top  of  the  camera.  Now  all  is  in 
readiness.  Paise  the  focusing  cloth  quickly.  Do 
this  so  that  light  will  enter  the  apertures  in  the 
lenses  simultaneously.  After  a proper  length  of  ex- 
posure, drop  the  focusing  cloth  over  the  lenses,  and 
replace  the  dark  slide.  Follow  directions  in  Chapter 
lY.  for  the  development  of  the  plate,  but  use  care 
not  to  get  one  side  of  it  more  intense  than  the 

other  ; in  short  the  nega- 
tive should  be  treated  the 
same  as  any  other,  until 
it  is  ready  to  be  printed 
from.  Take  a piece  of 
ground  glass,  a trifle 
larger  than  the  stereo- 
negative, and  upon  it 
draw  with  a lead  pencil  the  diagram  shown  in  flgui’e  30. 

The  distance  between  each  of  the  lines  and 
the  perpendicular  D (7,  should  be  inches,  and 
from  the  base  line  to  the  crown  of  both  arches  3| 
inches. 

These  proportions  make  the  very  desirable  size  of 
stereo  pictures,  commonly  called  the  artistic?^ 

Lay  the  negative  film  side  up  upon  the  marked 
ground  glass  so  that  the  right  hand  half  will  come 


FIG.  30. 


STEREOSCOPIC  PICTURES. 


89 


over  the  right  hand  form  pencilled  thereon,  and  vice 
versa.  Take  in  the  best  portion  of  the  subject. 
With  care  move  the  negative  so  that  the  line  A B 
will  pass  through  similar  objects  in  both  halves;  also 
adjust  the  negative  to  have  the  perpendicular  0 D 
pass  through  defined  lines  or  objects  in  the  right 
half.  With  a sharp  pointed  instrument  scratch  on 
the  negative,  using  a straight  edged  ruler,  the  line 
A B,  also  the  line  B.  Shift  the  negative  so  that  the 
perpendicular  0 D will  intersect  points  or  objects 
corresponding  to  those  in  the  otlier  half ; at  the  same 
time  the  scratched  base  line  must  coincide  with,  or 
be  directly  above  the  line  A B on  the  gronnd  glass. 
Now  scratch  the  left  hand  line  and  the  negative 
will  be  ready  for  printing. 

All  of  the  prints  made  will  show  a black  base  line, 
and  the  two  outside  ones  E E.  Turn  the  prints 
face  downward  and  upon  the  back  of  the  right  hand 
half  mark  with  a pencil  the  letter  Z,  and  on  the  left 
hand  picture  the  letter  E.  Now  reverse  the  prints 
to  have  the  face  upwards.  It  is  to  be  hoped  that 
you  have  available  a glass  form  3i  inches  wide  by 
3s  inches  high,  with  an  arch  top.  Set  down  this 
form  upon  each  print  alternately  so  that  the  lower 
edge  will  be  on  the  line  A B^  and  one  side  on  one  of 
the  lines  EJ.  With  a sharp  knife  or  a Robinson 
trimmer  cut  closely  around  the  form.  The  Robinson 
triiiimer  is  suggested  because  it  is  so  desirable  that 
it  has  the  commendation  of  photographers  every- 
where. Always  cut  the  prints  on  a light  of  glass. 


90 


HOW  TO  MAKE  PICTURES. 


In  mounting  the  prints  on  the  card,  put  the  one 
marked  L on  the  left  hand  side,  and  the  one  marked 
R on  the  right  side,  and  have  the  two  edges  meet  in  the 
center  of  the  card  ; also  have  an  equal  margin  above 
and  below  the  pictures.  If  you  can  avail  yourself  of  a 
printing  press  or  hand  stamp  with  movable  type,  and 
chose  to  do  so,  you  can  print  on  tine  tissue  paper  the 
name  of  the  picture  or  locality  of  the  view.  In 
printing  from  the  negative  this  piece  of  tissue  paper 
is  laid  on  the  face  of  the  negative  in  one  corner  so 
that  the  lettering  will  copy  on  to  the  print  in  the 
place  shown  by  dotted  lines  on  figure  27.  Thin  tis- 
sue or  onion  skin  paper  will  not  prevent  the  printing 
of  any  part  of  the  negative ; the  effect  is  to  make  the 
operation  a slower  one. 

The  instruction  contained  in  this  chapter  will  be 
pronounced  quite  elementary  by  men  of  experience  ; 
the  reasons  why  have  not  been  given,  but  enough 
is  stated  to  enable  the  amateur  to  secure  good  results. 

Indeed  the  same  is  true  of  all  that  precedes,  and  I 
do  not  imagine  that  any  one  will  think  that  he  has 
mastered  all  there  is  in  photography  after  fortifying 
by  experience  the  teachings  of  this  book.  - 

The  purpose  is  to  enable  the  amateur  to  meet  with 
success  and  to  furnish  a stepping  stone  by  which  books 
more  technical  and  profound  will  be  made  intelligi- 
ble and  interesting  to  the  non-professional  photog- 
rapher. Very  few,  I think,  will  be  satisfied  with  the 
rudiments  of  this  truly  fascinating  art. 


CONTENTS. 


INTRODUCTORY  CHAPTER. 

PAGE 

Amateur  Photography,  its  scope  and  uses 7 

CHAPTER  I. 

Description  of  Apparatus,  the  cheapest  and  also  the  finest. . 15 

CHAPTER  II. 

Filling  the  Plate  Holders  in  the  darkened  room 29 

CHAPTER  HI. 

Taking  the  Picture 34 

CHAPTER  IV. 

Development  of  Gelatine  Plates 40 

CHAPTER  V. 

Fixing  Gelatine  Plates,  also  treating  on  Over-exposure,  and 

describing  a Stock  Developing  Bottle 44 

CHAPTER  VI. 

Varnishing  the  Negative 51 

CHAPTER  VII. 

Printing  from  the  Negative 54 


92 


CONTENTS. 


CHAPTER  VIII. 

PAGE 

Toning  and  Fixing  Prints — Blue  Prints,  liow  to  make  them.  57 
CHAPTER  IX. 

Trimming  and  Mounting  Prints ‘61 

CHAPTER  X. 

Items  to  be  Borne  in  Mind 66 

CHAPTER  XI. 

Photography  for  Ladies 67 

CHAPTER  XII. 

Useful  Information,  treating  on  varied  topics,  Fogging 
among  them,  and  describing  how  to  make  Transparen- 
cies ; also  giving  tables  of  Weights  and  Measures. ...  73 

CHAPTER  XIII. 

Instantaneous  Photography 82 

CHAPTER  XIV. 

Stereoscopic  Pictures,  how  to  make  and  mount  them 87 


\ 


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